October 13, 2024 0 Exhibition Belinda Bitácora Del Sueño Eterno New Jesus Mejia Exhibition: "Bitácora Del Sueño Eterno" (Diary of the Eternal Dream) – A Raw Exploration of Aging and Memory Jesus Mejia, an award-winning Costa Rican artist, is preparing to present his most personal work yet in a new exhibition titled "Bitácora del Sueño Eterno" (Diary of the Eternal Dream) at Casa Jiménez Sancho in Cartago. This anticipated show, opening 19 October 2024 (inauguration 3pm) offers a poignant glimpse into the artist’s reflections on aging, memory, and familial bonds. Known for his distinctive blend of Catholic iconography and social commentary, and recently recognised with the prestigious Francisco Amighetti National Visual Arts Award in 2023, Mejia has steadily risen as a force in the Costa Rican contemporary art scene. He was also awarded third place at the 2024 CROMA Biennial. His latest series, "Bitácora del Sueño Eterno" however, pivots from the societal to the intimate, focusing on his personal experience as a caregiver for his grandmother, who struggled with Alzheimer’s, as well as the role of his mother as the caregiver. These new large-scale oil paintings explore the physical and emotional weight of caregiving and the often-untouched theme of aging.Works from this poignant collection will be available for purchase through MÍRAME Fine Art. In the following conversation, Jesus Mejia (JM) talks to Belinda Seppings (BS) about the exhibition, his creative journey, and the motivations behind this latest body of work. MÍRAME Fine Art belinda@miramefineart.com | 506 8807 9008 Follow: Facebook | Instagram Jesus Mejia in his studio, 2024 (Photography by Julio Sequeira). Early Influences and Artistic Beginnings BS: Can you tell us a bit about your background and how you started your journey as an artist? JM: My interest in art started early. As a child, I spent a lot of time playing with art supplies given to me by my aunt-in-law, a ceramicist. Her house had an extensive library of art history books, and I was captivated by the works of Picasso and the Flemish Renaissance. I began reproducing these pieces at just five or six years old. That early exposure laid the foundation for my love of painting, and later, I formalised my training at the National University’s School of Art and Visual Communication. What really drove me to commit to my career was the responsibility I felt toward my craft. Over the past year, I’ve focused even more intently on my painting, participating in national and international exhibitions, and last year, I was awarded the Francisco Amighetti National Visual Arts Award. Now, I have this new series, which feels deeply personal and necessary for my artistic evolution. Jesus Mejia, Durmientes, Oil on canvas The Role of Faith and Family in His Work 2. BS: Growing up in a Catholic household, how has religion influenced your artistic vision? JM: Growing up in a Latin American Catholic family gave me insight into how people need to cling to something. The concept of faith, whether it’s in a deity or something else, is crucial for humans. It drives and sustains us. The ritual aspect, like mass, and how dogma can influence a population, was something I observed growing up in a religious context. This environment fueled my motivation to create art by making me question and reflect on why I adopt certain beliefs. Being raised in an imposed religious context encouraged me to think critically, not just accepting beliefs because my family did or because it was tradition. Growing up in such a traditional, religious, and village setting in Latin America made the traditions even more ingrained. The intense religious and traditional upbringing made me want to question everything more deeply. This questioning became the foundation for my approach to creating art that makes people think. Neo-Academicism and Light vs. Dark 3. BS: Your work is described as "neo-academic" with influences from Baroque and tenebrism. How did this stylistic approach develop? JM: My artistic references come from observing painters I admire, focusing on how they fuse technique and symbolism. For instance, I greatly respect Lucian Freud for his elegant blend of technique and visceral emotion in his work. Although I don't strictly follow a neoclassical approach, I draw more from Flemish painting, particularly its narrative aspects, which were my first exposure to art as a child. This primal image shapes my subconscious approach to constructing paintings. While my style may evolve, I'm currently interested in staying true to my personal interests rather than chasing innovation. My artistic objective is to create recognisable images that convey clear messages. The Baroque period, with its dramatic contrast of light and shadow, provides a rich symbolic and communicative framework that I find very compelling. 4. BS: Can you elaborate on how you use light and dark contrasts to explore social disparities in your paintings? JM: When I began studying Baroque painting, I was fascinated by how artists like Caravaggio used light to transform religious images. I realised that the same image could convey different perceptions simply by changing the lighting. This interplay of light and darkness is deeply symbolic for me. Shadows contain what we don't like about ourselves and hide a whole universe that can deform shapes and consume space. Light, on the other hand, is expository and generally seen as positive. I use specific lighting in my scenes to drive the narrative and illustrate the dichotomy between light and shadow, showing how they coexist in the same space. It's like depicting the two sides of a person—the positive and the negative—both essential to their existence. When I paint, I start with dark spots and gradually lighten the layers. This process is symbolic for me, representing my consciousness growing and evolving with the painting. It allows me to bring the painting out of the shadows and into the light, addressing things I may not like but need to confront to grow. This exploration of light and shadow lets me achieve a rich symbolic level that I might not reach with colour alone. Jesus Mejia, Durmientes, Oil on canvas Exploring Aging and Memory 5. BS: Your new series "Bitácora Del Sueño Eterno" deals with aging and your experience caring for your grandmother. Can you tell us more about the inspiration behind this body of work? JM: When my grandmother started experiencing cognitive and physical health issues, my family took turns caring for her at night. During my shifts, I spent time with both my grandparents, helping with their nightly routines. I began documenting these moments—taking portraits and photographs—driven by a need to capture and preserve these memories, fearing my grandmother's decline. As I amassed material, I decided to create a painting named "Bitácora de las Uñas y Oterno", which became the series' title piece. This painting was selected for the 2022 National Salon at the Costa Rican Art Museum and was exhibited in 2023. The public's emotional response made me realise the universal resonance of the subject, as many people have elderly loved ones and can relate to the theme. This experience highlighted for me that art often overlooks the immediate and personal contexts of our lives in favour of broader issues like war and environmental concerns. Yet, these intimate, contemporary matters are also worthy of attention. The Emotional Weight of the Caregiver Jesus Mejia, La Cuidadora 2, Oil on canvas 6. BS: One of the standout pieces in this series is "La Cuidadora 2" (The Caregiver 2). Can you explain why this painting holds particular significance for you? JM: This piece is the largest painting in the series, and it’s deeply personal because it presents the often-overlooked role of the caregiver. In many cases, when we talk about diseases like Alzheimer’s, we focus entirely on the person suffering from the illness. But the caregiver’s experience is just as important. In this piece, I depict the act of bathing an elderly loved one, which is a deeply intimate and emotional experience. It’s not just about physical care; it’s about the emotional toll that caregiving takes. This painting encapsulates the central themes of the exhibition—aging, vulnerability, and the emotional weight of caring for someone in their final years. It’s a difficult scene, but I wanted to show the dignity and importance of this often-overlooked role. Themes of Reflection and Legacy 7. BS: What broader themes do you hope viewers will take away from the exhibition? JM: While this series is based on my experience as a caregiver for an elderly person, my primary interest lies in contemplating old age through portraiture and scenes of elderly individuals. Today, there is a lot of aesthetic violence and a widespread fear of aging. I believe there is a phobia surrounding the idea and concept of being old. In this series, I aim to create a space for reflection, showing what it is like to feel one's age, as seen through the experiences of my grandmother. I intentionally avoided a romanticised view of old age. While aging can be dignified, the reality is that many older people do not feel this way. I didn't want to impose a romantic perspective from my standpoint as a young person. Instead, I chose a more contemplative approach, focusing on dematerialising and de-personalising my grandmother in the paintings to reflect my own observations and fears about old age. I want viewers to see the scenes, the wrinkles, the light, and the shadows. I want them to engage with what I'm showing and consider how they wish to age, how they want to treat the elderly, and how they might see themselves reflected in these scenes. This series also explores the concept of transcendence—how we will be remembered and treated as we age. This idea of legacy is a central and powerful theme in my work. Looking Ahead 8. BS: What’s next for you after this exhibition? Mejia: After "Diary of the Eternal Dream" wraps up, I plan to continue painting, taking advantage of my new, larger studio. I’m excited to see how this space will enhance my artistic practice. I aim to focus on production without the pressure of a specific project, listening to what my painting wants to express. This holistic approach helps me connect deeply with my craft, treating it as my language. To understand and translate this language, I need to listen to it. My creative process involves constant observation and analysis of my surroundings, from my family to daily life on the streets. I believe in continuous work rather than waiting for inspiration, so new projects will inevitably emerge. My goal is to keep painting and bring these future projects to life. Jesus Mejia, Ocaso 2, Oil on canvas Conclusion The upcoming Jesus Mejia exhibition at Casa Jiménez Sancho promises to be a raw, emotional exploration of aging and memory. By drawing from his own family experiences, Mejia creates deeply personal works that speak to universal themes of care, dignity, and legacy. Visitors can expect a powerful and thought-provoking display of contemporary figurative painting, rooted in both technical skill and profound emotional insight. For more information, reach out to Belinda Seppings at MÍRAME Fine Art: belinda@miramefineart.com Jesus Mejia exhibition : Bitácora del Sueño Eterno" (Diary of the Eternal Dream). 19 October 2024 - February 2025.
