Framus 12 String Acoustic. klimt Art by El Daga 2005 Collage Goldtone. Collectible. Only 1. RARE.

“GUSTAV KLIMT”

“Gilded”

An interpretive collage on guitar by the Artiste “El Daga”, 2007.

All Original.

Only One.

RARE & COLLECTIBLE.

 

FROM MY COLLECTION OF “ART” GUITARS BY THE ARTIST “El Daga”.

Guitars as art? Yes. I have always considered guitars, especially handmade instruments, as objects of art. Others have as well and have staged exhibitions of “guitar art”-most famous was the 2000 “Dangerous Curves: Art of the Guitar” exhibit at Museum of Fine Art, Boston.

Many artists have extended the “Art of the Guitar” to their recreation of standard guitars into alternative art pieces. I have proud to have been the benefactor of one such artist known by the sobriquet “El Daga” for many years. His art is in the hands of many private collectors (USA, Luxembourg and other countries) and museums throughout the world (Singapore, UK, Australia, USA, and other countries). My personal “El Daga” portfolio is comprised of one hundred (100+) pieces that includes electric guitars, acoustic guitars, amplifiers etc.

 

“El Daga’s” art can be divided into two groupings:

 

“Performing Art” (guitars, amps, etc. that can be played).

“Display Art” (guitars, amps, etc. that are for display only).

 

And each piece is “one of a kind”.

 

I have decided to sell pieces from my “El Daga” portfolio collection. Each will come with a COA.

 

THIS OFFERING.

No. 4

“GUSTAV KLIMT”

Of course, El Daga would have to be a follower of the Artiste Klimt. The use of “glittering, shimmering, shining, reflecting, et al” content of Klimt was a definite determiner on the style of El Daga as he became a protagonist of “reflective” art-wherein the piece responded to its viewer by absorbing light while also reflecting it.

This is, most likely, my favorite “El Daga” piece. It is golden. Literally. Look at the connectively of images and reflections that El Daga has brought together.

 

Look closely to find themes from these KAHLO paintings:

 

“The Kiss”

 

“The Stoclet Fries”

 

“Judith”

 

“Adele Bloch-Bauer I”

 

…and other works were sources of El Dago’s evocative and interpretive personalization of the work of his “guiding light”, GUSTAV KLIMT..

 

THE ART OF IT.

As noted above, this is a display piece. Most certainly it can be played but it was El Daga’s intent that it be shown as a floating image. The choice of the guitar used was “based on his sense of audacity of the character of a 12-string guitar-which rings out in intricate multiples of notes and tones that combine complexity into uniform understanding”. The guitar is a Framus-German guitar-of the highest quality. For this work, El Daga used a type of layering very similar to the original “gold leaf” style of Klimt by taking high gloss prints and lifting those components of the total image that would meld with others to create a new art piece. Metal sparkles, light reflecting material, etc. combined with the print material to give this work an incredible sense of depth and entrancement. It is an amazing piece of art.

 

CONDITION:

This is a piece of handmade art. It is the only one. It is a collage piece comprised of high grade prints that have been attached to a high-grade vintage guitar and then sealed. You will see, and enjoy, its crudeness at the level of detail-lines are not straight and images gather randomly together to create a new and total art image.

 

MY GUARANTEE:

Simple.

You have 3 days after receiving it to return it if you do not feel it satisfactory for any reason. I only require that you return it to me-after notification that it is being returned-in the same condition as it was delivered to you and at your expense.

THE ARTISTE “El Daga” in his own words.

 

ART, THE GUITAR, AND THE CREATION DONE. THE” EL DAGA” (EL DAGA) Story.

Immediately engaging.

A simple, yet complete definition of art says El Daga, an artist who is a true gospeler of escultra social-social sculpture- as a term derived from the German conceptual artist Joseph Beuys, who proposed that sculpture, if made from everyday materials and displayed in a real-world setting, has the potential to affect society most broadly. His concentration is on form and content.

EL DAGA's work focus on the themes of the transformation of everyday materials, social engagement with the public, and the impact of music, popular media and performance.

Most recently, EL DAGA has approached the concept of performative art by looking at the combination of art form (as object) that transforms into performance art (content) by use of light and sound with interaction of performance artist. He has adopted the locution Ephemeral Performative Art to provide ascription to this current body of work.

EL DAGA is serving as the protagonist for this new and refreshing art form. His initial work began as an exploration into what percipients respond to while experiencing a live concert of musicians playing traditional musical instruments. Beyond feeling the throbbing of the musical sounds and hearing the musicality of the performance, EL DAGA quickly recognized the underutilization of the basic principle of sensory stimulation regarding the performative actions of the artist. Traditionally the use, and overuse, of lighting and visual effects have become more distractive than contributory to the total pleasurable and meaningful sensory experience of the viewer.

Having worked as a visual artist and played guitar, EL DAGA immediately combined the impacts of light and musical instrument to produce truly unique and defining pieces of performative art. By adhering to his basic philosophy of escultra social-social sculpture, he gathered a wide variety of used electric and acoustic guitars and combined them with other commonly available everyday materials to produce his Ephemeral Performative Art pieces. He soon coined the moniker El Reflecto to describe his first pieces that utilize highly light reflective material on guitars to make them interact individually and specifically to all light sources. With an El Reflecto guitar, the performing artist now becomes an art object him/herself by allowing the guitar to respond and react to all light sources or as he describes it the guitar receives and transmits light as it becomes an integral part of the performance. Not only is this art form revolutionary, it is also totally complementary to any artist performance. EL DAGA has also extended his artistic liberty to the creation of other pieces that combine the complimentary (wood and leather) and contrarian (metal and wood) in single instruments which assume personalities of their own as well as the use of collaging to recreate art. Many of these pieces are collaged with images taken from his past experiences and current life events.

EL DAGA creates each, and every, piece of his performative art completely from his mindset at the time it is sculpted. Mostly he will reinterpret existing instruments into a new personality piece.

El Daga says: I describe my work as 'interpretive' as well as 'creative', perhaps aptly described as 'recreative' wherein I take an existing work of art and 'recreate it'.

Many times, I look at an artist's work and 'listen to it'. Sometimes it is the sound of music (in all its many forms) and other times it is simply noise. In my new work with musical instruments I have matched artists and, or, specific pieces of art with musical instruments that convey to me the 'music of the art'.

El Daga's Background-in his words:

Born and lived in Mexico City where I practiced my art while also undertaking the work of a simple laborer interacting with materials and their daily use.It was during that time that I began to see every object before my eyes as art and my work in combining different elements and components as being that which entitled me to the appellation 'ARTISTE'

In 1990 I moved into my nightmare-South Central in 1990.

I was there in 1992 when the streets exploded and anger tore at the sky. Nights-days-and the devil land became my home behind a locked and bound door. My torment became manifest in my work. Once the skies cleared and chaos became organized, I took those children of my anguish into the street and burned them at midnight as exculpation of my self-condemnation of my failure as an artist to bring curative restoration to the human spirit.

As the fire died and the ashes of my malcontent soul were washed away by a cleansing rain, I turned and walked away with only my hands in my pockets.

My venery of self-meaning led me across the US and produced a lifetime of regret and hope in only a few months. Arriving on the east coast, I made a new life in the seclusion of the rural south again undertaking the restorative art of the labor of my hands to produce the components of everyday life which then led me to my current dedication to 'escultra social'.

I hope you enjoy my work. Each piece is a solitary creation.

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