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Tiite' Baquero Biography
Tiité (pronounced TEEtay)
I have managed to survive to the age of 59 this year of
2008 and I'm glad to be able to share with the world a lifetime of work which I
present as a timely contribution to civilization. We humanity have come to this
axis age where the effect of our technological development and the structure of
our cultural context is no longer sustainable by any measure or can no longer be
obscured by the best creative form of denial.
My work is about what we can do to evolve and gradually
replace one unsustainable culture with a culture of sustainability.
My life's work dovetail in the worldwide Peace Marker
Project which is currently making forward progress to create our specie's first
global work of art. The global scale of this collaborative work unveils a number
of new aesthetic relationships between art and life.
These new relationships make possible an art form that can
create, at least within the context of a work of art, a functional model of a
cultural feature that humanity has never had, namely, a physical manifestation
of the idea of peace that is wholly independent from the culture of war.
Worldwide Peace Marker Project will give us a working model
of world peace while at the same time provide ample evidence that we can
collaborate as a species to create a new world as we evolve in it.
2008 Worldwide Peace Marker Project is scheduled to
unveil Peace Markers in Slovenia, Italy, Morocco, Serbia, France and Nepal (see
www.wpmp.net for details.)
I'm also painting a new series of works featuring a bird's
feather as the central theme. I relate the feather as an evolutionary symbol
that is relevant to our own new evolutionary path, we must recall that feathered
dinosaurs seem to have evolved into birds. Thus the symbolism of the feather in
my new work.
2007 I completed forty three new works, and the text
for 2.0 A Simple Idea for a Troubled World which was translated into Turkish and
exhibited at the Ataturk Cultural Center in Istanbul. I also addressed the over
2,000 people who attended the 13th annual Call to World Peace Conference in
Istanbul on November first.
2006 I
completed 41 new
works, created the exhibit "Heritage" for the Tertulia Society, The Worldwide
Peace Marker Project installed two new markers, one in Turkey the other in Lebanon. Tiité completes "A Global
Work of Art" a companion book to the worldwide Peace Marker Project. you
may read or download the book on line at www.wpmp.net
2005 I
completed 51 new works
where I continue to explore the binary relationships between physical and mental
states that seem to generate a seamlessness between art
and life.
2004 I completed 35 new works pursuing the binary
characteristics behind the urge to create art with the source of the creative urge (life
itself) an the dynamic unit that results. These works add I believe, further
relevance to the eventual full reconciliation of art with life.
I also participated with
the artists Lasso and Alicia Velazquez on behalf of The Tertulia Society
to create a four dimensional work titled “21st Century Heritage
Profiles.” The 11 part work was presented at the Cape Coral Public library with
assistance from the Lee County Library System and the Southwest Florida Hispanic
Chamber of Commerce.
2003 I completed 56 works and began the production of
an installation called “Covenant for Balance” This work chronicles the war on
Iraq and presents the graphic reality of war in contrast to the abstract and
tenuous presence of peace, the work will likely be completed following the
conclusion of the war.
2002 We launched the “Worldwide Wide Peace Marker
Project,” the work consist of the installation of 198 sculptural markers in as
many nations around the world. The integral design of this project and the
criteria of its implementation will provide ample evidence of the nature of the
four-dimensional work of art while at the same time generating a working
aesthetic model concerning the reality of a single idea ”World Peace”. To date there
are Peace Markers in the USA, Bosnia –Herzegovina, Germany, Canada,
Japan and Turkey. Markers
are being readied for 10 new nations and an accelerated distribution schedule is
being worked out to compensate for the time loss occasioned by the war with
Iraq.
2001 – 2002 I produced 43 works for the series “On
Nature’s behalf” a collection of images that present a number of wildlife
whose natural habitats are irreversibly lost. the subjects included tigers,
bears, lions viewed in a light and a setting that bespeaks of their impending
outcome. No longer citizens of the wilderness but creatures destined to
survive in captivity as trophies of human
arrogance.
1992 to 2000 I kept a low public profile in order to review
the enormous amount of data gathered by the experimental works and proceeded to
finalize the thesis that became Vo. During this time I produced several monumental pieces for
private collectors, produced work for two one man exhibits, co-art directed the
feature film Captiva and closed the
century with two large scale works in aluminum the “Millennium Cross” named My
Refuge and “Facing the Winds of a New Millennium”.
1989 –“Earth Gallery One” a permanent environmental
installation consisting of 12 sculptural sentries composed of pilings projecting
14’ above the water level, near Galt Island in Lee County Florida. Each Sentry
displays a narrative regarding conservation and is caped with a scale replica of
the manatee monument. The work spans 6 square miles and remains as evidence of
the thesis concerning reality and the four-dimensional work of art. the work is
still standing as of 2008, the work is one of the largest permanent
installation─ works of art in America.
1987 -1992 “Manatee Alert,” was perhaps the first
attempt to a truly
four-dimensional work of art to date; painted if you will, on a geographical
canvas spanning 2 counties (Lee and Collier Counties in Florida) the work featured a full scale
working model of environmental conservation. The work was totally integrated
with the urban and natural environments, to the extent that the boundary between
the work and reality virtually disappeared and in spite of my warnings the
project was viewed as real object. The project involved school lectures and
presentations, the monitoring, rescue, tracking and forecasting of manatee
activities in Lee and Collier counties. The project involved the voluntary
cooperation of over 3000 “Manatee rangers,” a dozen pilots and private aircraft,
a fleet of six rescue boats, divers, daily television, radio and newspaper
manatee reports reaching an ultimate daily audience of about 3 million people
including the East coast of Florida.
Note: During the project, as early as 1998 Lee County
reached the lowest manatee mortality on record caused by accidental encounters
with boats. After the completion of Manatee Alert, the cultural effect of the
project was soon replaced by conventional wisdom. The effect of the methodology
from the latter, however, has not claimed great progress either culturally of
environmentally.
1986 – “Manatus Paradigm” a 10’ x 6’ performance painting
where the central image was composed of hundreds of signatures, rendering the
work to serve as a public environmental manifesto that declared the integral
nature of conservation and the need to go beyond passive awareness to a culture
of conservation as an integral process. The work was given to the State of
Florida and resides at the Marjory Stoneman Douglass building in Tallahassee
Florida.
1985 - “Magic of Perception” a collection of 19 steel
sculptures. The centerpiece of the exhibit was a computerized sculpture that
learned new musical tones from the viewer’s touch via a built-in digital sensory
pad. The exhibit was specifically organized for the blind and demonstrated
perception of a three-dimensional work as a four dimensional object. This
exhibit was one of 12 “conscious environments” Tiité performed that year.
1984 – “Night Float” a 30’ x 14’ feet animated lighted sculpture of
a West Indian Manatee swimming; mounted atop of a cruise boat, the work lead a
night parade of boats to the mouth of the Orange River in Lee County, the site
of a manatee winter refuge. The work explored the role of the four dimensional
work of art in the development of a culture of conservation.
1983 – “Homage to the Orange river Valley” known as The
Manatee Monument, was contemporaneous with “surrounded Islands” the
environmental work of artists Christo and Jeanne- Claude. Homage to the Orange
river Valley is a permanent sculpture that explores the seamlessness of the
four-dimensional work of art in its interaction with natural and conscious
environments in situ at a wildlife refuge.
1982 – “Diffusion Billboard Opus 1982” an 8’ x 1,585 feet
long mural, on end the mural measured about 100 feet taller than the Empire
State building. In this work Tiité creates a portrait of his own consciousness
regarding our perception of the history of the universe and of life on earth.
The work documents the assumption that human reality is an outcome of
four-dimensional consciousness.
1981 – “The Rubicond” steel sculpture 26’in height
presented as a messenger of culture, the Rubicond embodied the imminent rise of
genetic engineering and was perhaps the first work of public art featuring a
transgenic creature conceived from plant animal and insect DNA. The work marked
the reality boundary between natural evolution and the beginning of man-made
evolution.
1980 - “Homage to Time” the centerpiece of a collection of
6 works of sculpture using 5 to 10 million year old Florida brain corals. With
these works, Tiité dates the beginning of his thesis and highlights the
importance of time and space in the development of an aesthetic view of reality.
1980 – 1992 I was, acutely aware of emerging critical environmental
problems, I focused my experimental work on “The Role of Art in Environmental
Conservation” and proceeded to perform some 237 works of public art including
permanent and temporary paintings and sculptures, performances, urban
environmental works and large scale environmental installations, which provided
the wealth of information from which I developed the philosophical
underpinnings of “Vo” and the structure of my four-dimensional works
culminating in the reconciliation of art and life.
1967 – 1980 I arrive in New York and continues my education in
art, art history, philosophy and natural history. I learned engineering design
methods and criteria for steel and concrete structures and participated in
several note-worthy projects in New York, New Jersey, Ohio, Georgia, Orlando and
Miami Florida.
During this period I pursued the idea to explore
relationships between mind and environment as a means to approach an aesthetic
description of reality. He designs an experimental program and moves to Florida
to research and implement the thesis.
1957 - 1967 I attended school but felt more
comfortable following a path of self education
in natural philosophy, art history, drawing, and painting.
I studied mechanical, architectural and engineering
drafting as a means of financial support.
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