Gilbert "Magú" Luján

Hot Dog Meets La Fufú con su Poochie, 1986, acrylic on archival board, 13" x 28.5" x 18"

Me and My Compadre, 1989, lithograph, 20.5" x 28"

"Los Four:" Homage to Mesoamerica, 1974 Mixed media installation, 12' x 16' x 24'
Pyramid mixed media installation and exposition of Xicano culture. Common culture products from the USA became symbolic of our multi-cultural melieu. Also, the focus on the low Rider, another motif of our Pocho cultural profile.

Magu's Home Altar and Graffiti Wall
, 1974
This has elements of the vocabulary intended as potential definitions as in the sculptural low-rider, Graffiti as Calligraphy, Altars as a cultural metaphor, and found in our homes as modest displays of our cultural values. The graffiti spelled out "La Virgen de Guadalupe, Rifa, Por Vida," and assuming this wasn't an act of vandalism but part of my aesthetic intention of including graffiti.

Our Family Car, 1984 1950 Chevy sedan
Lacquer and Emeron clear paint job. The chile tipped flames typical of street rods are combined with the Low-rider as a modern chariot and emblematic of car culture as an ego-boasting showboat sculpture. If one pivots on the culture Xicano/A artforms follow.

El Fireboy y el mingo, 1987 Lithograph / colored pencil
The series of the dual characters: man and his dog. The dog is the representation of the owner, therefore reflecting some of his qualities. The symbols and visual tidbits behind the pair is meant to resemble an ancient language which is beautiful but not understood.

Tripping, 1987
The anthropomorphic stick figures were a series meant to honor and pay homage to folk artists, in Mexican culture. The engineering of these vulnerable stick dogs were put against a cacti for added stability, thus the title, and the colloquial implication.

Watching the Tortilla Dudes Pass, 1988
A painting depicting Kachina-styled building and various hats with tortilla shadows that are meant to represent Xicanos / as. Mesoamerica architecture has imposed its flavor on the intent to instill those influences in contemporary Aztlan.

Pyramid Café, 1985
This intention was to incorporate different styles or ideological schools of painting and as an example of our shrinking global eclectic culture building. Folk designed stick figures are a signature mode of expression in Magulandia, and with the human female, to include people in a cartoon mix.

Flaming Blue, 1994 Ceramic sedan with acrylic
This car sculpture was used in the credits for the television series with "Culture Clash" by Gary Schwartz. It is part of a series of customized cars emanating from Southern Califas car culture. It has been stolen.

Fifty Nifty Chevy
, 1998-99 with tandem wheels, made of fiberglass on a black cement bench (8 feet)

Car sculpture benches were designed as part of the transportation system and reminiscent of the prominent fifties car culture and a major California symbol. These will be offered at the end of the year in various mediums.


Hollywood and Vine (Tile project, phase two) Ceramic tiles, 12" x 12"
This tile is intending to encompass the breath of the movie characters from people to dogs. The absurdity of the scale is part of the drama and meant to be seen as fantasy, a significant aspect of Hollywood. These tiles will be part of my new ceramic operation.

Cruising Turtle Island, 1998 Serigraph (12 colors), 23" x 34"
It's a pictorial analogy of an indigenous myth considering the continent of America to be the back of a turtle. The car is a vehicle that extends indigenous culture and myths into a contemporary form of social imagination. The architecture is an attempt to bring those examples and influences into current consideration.

Pyramid Dog
This was the initial icon invented to connect my art efforts to Mesoamerican influences and heritage. After inventing this artificial motif, the other dog-oriented figures followed. This one icon became a building as shown and a myriad of other applications.

Artster and La Cowgirl, 1985 5'6 (Life size)
Mixed media sculpture in folk art mode and extensions of palito figures, done earlier, 3-4' aspen log size. Legs were secured by going to 9,000 ft. altitude and drying them several years before shaping. My shoes were also included to affect a hint of realism as were Cowgirl's boots originally belonging to a girlfriend.

Cruising Rodeo Drive, 1993-95
Ceramic car and figure and pine board base, plywood palm cut outs This sculpture has the implication of cruising to Rodeo Drive (Beverly Hills). It is an attempt at a humorous jab at class distinctions, and "social turfs and demarcations."

Red Hills Journey
, 1980 Cardboard/wood tableau
This diorama was constructing figurative and motion studies with a simple mountain and wood base- foreground. The colors were kept simple and selected to be dramatic in their juxtaposed contrast.

Beach Couples, 1984 Archival board/acrylic/wood base
Figurative explorations with cardboard. As accessible, abundant and inexpensively forgiving material. Cardboard as a good student choice of material was advocated with these magnificent attributes. The couple is reminiscent of beach culture and lifestyles of Santa Monica and Venice, the palms are Southern California motifs.

The Patron and the Artist
, 1984 Archival board/acrylic
This analogy is depicting the artist pouring out his heart to the non-committal and nonchalant patron. It is meant to be a facetious commentary on the relationship between collectors and artists. It also bespeaks about the perennial financial predicament of the artist.

The Gift, 1987 Pastels, pen and prisma colored pencil on acid-free paper, 32" x 38"
It was a study for a proposed museum installation. The gift is offered by La Peaches and the environ is an early concept of Magulandia, the installation would be a combination bas relief and mural fabrication.

The Heart Tornado, 1984 Drawing pastel/ acrylic/prismacolor, 32 " x 38"
Showing a partial repertoire of architectural intentions based on Kachina masks and adobe proposals for inexpensive housing and studio spaces. The heart image appeared to resemble a tornado therefore the title. The cartoon style is a common venue of my manner of working.