A prolific San Antonio painter, Louis Vega Trevino’s signature artwork is/has been on display in many prominent public places: the Terminal B building at the San Antonio Airport, Main Street Plaza, Chamber of Commerce, and various City Administrative and Mayoral Offices.
Louis Vega Trevino is a trained architect having graduated from San Antonio College with degree that spans both architecture and art; granting him an unusual perspective on the two industries; forging an uncanny ability to create work that is influenced by a variety of architectural parameters.
Louis Vega Trevino's painting reflects a deep understanding of historical precedents. Without any derivative step, he has built upon a number of important, painterly languages to evolve a style that is instantly recognizable as uniquely his own.
Louis dismisses subject matter altogether for compositional 1960’s minimalism. Known as a colorist stripe painter, Trevino explores simple geometric alignments with hard edged and blurred line, verticals and horizontal selections that invite the viewer into his world of artistic movement, optical illusion and irregular “Frank Stella-ish” shaped canvases –all making amusingly clever arrangements.
Trevino's painting recalls not only the atmospheric color fields of Mark Rothko and Julies Olitski, but also that indeterminate margin where color field interests merge with the geometric and optical abstraction of Gene Davis and Richard Anuszkiewicz. It is in that margin that Trevino's work finds its form, an area once explored by Morris Louis and which Trevino's color-charged compositions have revived and redefined.
Louis is neither tied to formalities of pictorial definitiveness like perspective, detail or anatomical renditions, his paintings are something of a paradox: balancing cool analysis with a hot pursuit of color relationships in which he blurs the distinction between color, line and form such that those elements seem to merge and deconstruct in an astonishing blend of hues that are only conceptual in relation to one another.
Taking more freedom in pictorial placement, shaped canvases are purposefully arranged in a way that is neither fluid nor geometric, but teeters on the brink of symbolic. With no one canvas sharing a common axis, each section can be angled to a distinct degree; making for matching corners, but obsessively evident is the reference to negative space contemplation if work is arranged where no one side touches the other and small sliver of space is left to exist between the edges.