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R. Martin Abeyta is an interesting painter:
The Baroque stylings of the European image arrived on the shores of the Americas in the 16th century and soon began its transformation into a colonial-mestizo variant, which utilized the outward appearance of the European source, while incorporating the subdued and even subversive translations of the indigenous and creole artists trained to rework it in the studios and workshops of the Spanish colonies.
It is at the point of introduction and divergence that I have begun an exploration of the convergence of two distinct cultures whose confrontational relationship continues to define the present moment.
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