Dr. Harald Tesan

Art historian, Nuremberg

 To Painting of Joan Louis 

 "Joan Louis comes from Trujillo, a town on the northern section of the semi-arid coast hem at the foot of the andes. It rains there almost never and yet there is a quasi-eternal spring. It may be that the only river oases and ground water allowed vegetation in this desert climate the receptivity of the artist for everything and blooming grunende demanded.

Asked about the specific "Peruvian" in his art, the painter at the colorful traditional costumes of his homeland. This seems at first a convincing argument if the lively atmosphere of this oil saved eight up images has in mind.

At first glance this is a innocent picturesque poetry, considered by forward to open the eyes of children in this retreat areas of the imagination is opening up. In the world of images of Joan Louis there is like in a fairy tale guitar playing dogs and philosophy rende cows. Its houses seem like trees to grow into the sky, tree houses in the truest sense of the word. Funny metamorphoses of architecture, flora and fauna and bustle sheets and offer all kinds of animals refuge.In view of the peaceful position yourself one you may feel reminded of paradise representations, a wonderful utopia of the resolve conflict together describe life on this planet. But Swing biblical metaphors rather latent. The painter is general for all peoples and religions understandable ciphers. In a broad sense it turns out to be a disciple of Jean Jacques Rousseau, a return to natural originality postulated.

"Pachamama" is the name of the peoples of the andes and the fruitfulness of your life-giving world mother. As a compensatory Pachamama, Omni potent force between opposites of the cosmos - like a parent space-time principle - which is Joan Louis in his art to consensus. And if the traditional Andean art no images for Pachamama, Louis also knew no fixed personification of "Mother Earth".He creates his own fantasy gods, this always occurs even with a touch of irony. Without any folkloric transfiguration uses Joan Louis a universal pictorial language of the modern. His life-affirming, cosmopolitan concept takes the viewer on a journey beyond ethnic or colonial cliches. This makes this painting so refreshingly sympathetic as the artist himself, as a citizen of the world understands."

Tyler McMahon

Professor of English at Hawaii Pacific University, Editor at Casagrande Pre

"The Art of Joan louis defies simple classification. Abstract fields and shapes coexist with still-life and illustrative figures. The rich earthy tones show a loning for the essential qualities of both real objects and of nebulous ideas. The thick and swirling textures of these pictures allow us to witness,almost to experiencie,the very process of painting itself. While the work shows considerable influence from the indigenuos cultures of louis native Peru,this is not the art of nostalgia.The eye of this artist doesn't look simply backward not simply forward,but all around.Stylistically,The harmonizes pre-columbian influences with those modernism and expressionism. Rather than vainly trying to carve out an elusive singular identity from among the knotted fibers of Latin America'sinterwoven culture,Joan Louis celebrates its plurality and contradiction and reserves judgment. Most refreshingly,this artist is keenly aware that subject matter does matter,after all. the handling of Andean themes by these paintings is quite remarkable What would first seem to be symbolic entities gods and sacred animals are stripped of their representative qualities and shown to us for their aesthetics.These paintings remind us that beauty can transcend culture,geography and era."