The Seeds of Growth / Las semillas de Growth (1986-87)

Painted welded steel / Acero soldado y pintado

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Birdhouse (1986)

Palenque (1987)

Fish Spine (1987)

Hummingbird (1987)

Rio Grande de Loíza (1987)

Shangó (1987)

Using leftover metal scraps acquired from the factory where Growth was built, Jorge Luis created this series of eight sculptures centered on forms in nature, including several references to the flora and fauna in Puerto Rico. Fish Spine (1987), for example, was inspired by childhood memories of fishing trips with his brother. The essence of these experiences is paired with what remains of the catch afterwards. Flying Fish (1987) is a companion to this sculpture. Río Grande de Loíza (1987) is name of the largest river (by volume) in Puerto Rico. It is also the title of a famous poem by Julia de Burgos, which uses the river as an extended metaphor for the sorrow of the colonial condition. Birdhouse (1986) recalls the Parque de Palomas in Old San Juan. It is also intended as a reference to the Pablo Neruda poem “Las aves maltratadas,” which describes the extermination of seagulls in the northern part of Chile. In each case, the theme of survival contrasts with the necessity for these animals to adapt to human presence and urban environments. Hummingbird (1987) captures a scene in nature in which the symbiotic relationship between flora and fauna is on display. Shangó (1987) is a manifestation of the Yoruba deity associated with thunder. The vertical structure of Palenque (1987) is meant to recall the roof comb, an adornment installed atop Mayan temples and pyramids. It is also the name of an ancient Maya city renowned for its abundance of pre-Columbian architecture. The artist had previously visited the archaeological site, thus his decision to appropriate the architectural design he observed. Of the seven sculptures, which stand at seven to nine feet, Birdhouse, Fish Spine, Hummingbird, and Palenque were exhibited for the first time alongside Growth in Harlem Art Park, to coincide with its 30th anniversary in 2015. They were later installed in four locations in Harlem in partnership with the Marcus Garvey Park Alliance as part of the NYC Department of Transportation Art Program, Arterventions.

Utilizando restos de metal adquiridos de la fabrica donde se fabrico Growth, Jorge Luis creo esta serie de ocho esculturas centradas en formas en la naturaleza, incluyendo varias referencias a la flora y fauna en Puerto Rico. Espinazo de pescado (1987), por ejemplo, se inspiro en los recuerdos de juventud de los viajes de pesca con su hermano. La esencia de estas experiencias se combina con lo que queda de la captura despues. Peces voladores (1987) es un complemento de esta escultura. Rio Grande de Loiza (1987) es el nombre del rio mas grande (en volumen) en Puerto Rico. Es tambien el titulo de un famoso poema de Julia de Burgos, que utiliza el rio como una metafora extendida para el dolor de la condicion colonial. Palomar (1986) recuerda el Parque de Palomas en el Viejo San Juan. Tambien pretende ser una referencia al poema de Pablo Neruda „Las aves maltratadas“, que describe el exterminio de gaviotas en el norte de Chile. En cada caso, el tema de la supervivencia contrasta con la necesidad de que estos animales se adapten a la presencia humana y a los entornos urbanos. Colibri (1987) capta una escena en la naturaleza en la que la relacion simbiotica entre la flora y la fauna esta en exhibicion. Shango (1987) es una manifestacion de la deidad yoruba asociada con el trueno. La estructura vertical de Palenque (1987) esta destinada a recordar el peine de techo, un adorno instalado encima de los templos Mayas y las piramides. Tambien es el nombre de una antigua ciudad Maya conocida por su abundante arquitectura precolombina. El artista habia visitado anteriormente el sitio arqueolo- gico, de ahi su decision de apropiarse del diseno arquitectonico que observo. Palomar, Espinazo de pescado, Colibri, Palenque fueron presentadas por primera vez junto con Growth / Crecimiento en Harlem Art Park, para coincidir con su trigesimo aniversario. Posterior- mente fueron instalados en cuatro lugares de Harlem en asociacion con Marcus Garvey Park Alliance como parte del NYC Department of Transportation Art Program, “Arterventions.”