About the Artist

Born in Los Angeles in 1976. He completed high school at 15 and began figure drawing and painting while occasionally working in freelance illustration, consultation, and design. His interests led him to study abroad in Europe in 1998 and 2000 before attending the School of the Art Institute of Chicago. There he studied with the late Noir realist Donald McFadyen. He continued his studies at the Pasadena Art Center College of Design where he studied with contemporary artists such as F. Scott Hess and Kent Williams. Chavez considers himself primarily a self-taught artist. He cites the painters Diego Velasquez, Franz Von Stück, and Gustav Klimt as influences. He is guided by ancient art and the classical aesthetic movements within late 19th to early 20th century modernism. His outside interests include archaeology, philosophy, psychology, and history of religion.

"Whenever possible, I use the finest materials for their handling qualities, presence, and permanence.

I idealize the things I find most appealing.

Often the images have a female likeness - Using the feminine persona allows me a freedom not attainable by other means. Even the intimacy of portraiture gives way to the mystique of archetypes.

The artistic license offered by the ancient mind is instrumental in surmounting the restrictions of contemporary life.

My personal experiences, influences, and unorthodox training have allowed me to work in a completely unique way by a synthesis of traditional and non-traditional methods, ignoring fleeting trends or rigid formulae. In entering the “spirit” of sincere classical art, I experience a mode of human expression that is sensually rich in substance, unfeigned in its display, noble in its aspiration, and perennial in its pleasure. This is not the product of nostalgia, asceticism, or the opposites of these. This kind of understanding is without chronological or geographical boundaries. I do all of this while trying to be aware of art and its simultaneous psychological, philosophical, and decorative functions.

Ideally, I'd like to delight and remind the viewer, using the art as a suggestion, of the wider implications of this kind of reflection."

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