|This biography from the Archives of AskART:|
|Well known for his monumental granite sculpture, Jesus Moroles has one of his works in the White House sculpture garden. A 64 ton piece is also across from the Museum of Modern Art in New York City. He works, not by carving granite, but by hammering 5-inch steel wedges into large slabs, causing them to split against the grain. He polishes some surfaces and leaves others raw.|
He apprenticed with Luis Jimenez, who tried to persuade him unsuccessfully to work in fiberglass that looked like stone. But he wouldn't do it because he likes "living stone" that resists his efforts. Moroles first encountered granite in 1978 on the eve of his graduation from the University of North Texas in Denton. And his first piece of granite sculpture sold at the Shidoni Outdoor Sculpture Show in Tesuque, New Mexico, which of course gave him much encouragement.
For the last 20 years, beginning in the 1980s, Moroles, born and raised in the inner city of Dallas, has based his studio in Rockport, Texas, about 35 miles north of Corpus Christi. It is a sleepy, fishing village but is also headquarters to Moroles, Inc., a multi-million dollar business that employs about 20 people. His parents, Mexican immigrants, also live on the property as do the peacocks raised by his father. He travels widely including to Aswan, Egypt and Changchun, China where he has installed his sculpture.
Source: "Southwest Art", March 2001
|Biography from Altermann Galleries and Auctioneers, II:|
|Born in Corpus Christi, Texas in 1950 and educated with a BFA at North
Texas State University in Denton, Texas, Jesús Moroles lives and works
in Rockport, Texas.|
After returning from a year of studio work
in Italy in 1980, Moroles commenced to make the body of work for which
he is widely known. Critical recognition for Moroles came quickly
with many of his early exhibitions at Texas museums.
Moroles purchased his first large diamond saw, which began his long
term commitment to create a studio. In 1983, Moroles began his
construction in Rockport. The workings of the studio became a family
effort with the artist involving his parents Jose and Maria, his
brother, Hilario, his sister, Suzanna, and brother-in-law, Kurt Kangas
as integral parts of the Moroles Studio. This facility is
unequaled in the country for the making of large scale sculptures.
1982, Moroles received the Awards in the Visual Arts Fellowship for
which his works were included in a two-year traveling museum exhibition
which originated at the Museum of Contemporary Art in Chicago, Illinois.
During this period, Moroles began making large scale works such as his 22 foot tall sculpture fountain, titled Floating Mesa Fountain
for the Albuquerque Museum in New Mexico. In 1985, Moroles
received a National Endowment for the Arts Matching Grant for an
environmental installation of 45 sculptural elements and fountains for
the Birmingham Botanical Gardens in Birmingham, Alabama.
In 1987, Moroles completed his most visible work, Lapstrake,
a 64 ton, 22 foot tall sculpture for the E.F. Hutton, CBS Plaza in New
York City located across the street from the Museum of Modern
Art. During this time he received significant national attention
with his inclusion in the landmark museum exhibition, "Contemporary
Hispanic Art in the United States." Originating from the Museum
of Fine Arts in Houston, Texas, the exhibition traveled to the Corcoran
Gallery of Art in Washington, D.C., the Museum of Fine Arts in Santa
Fe, New Mexico, the Los Angeles County Museum of Art and the Brooklyn
Moroles' largest single work is the 1991 site sculpture, the Houston Police Officers Memorial.
Comprised of granite and an earthen stepped pyramid surrounded by four
equal inverted stepped pyramids excavated from the ground, the
sculpture spans 120 feet by 120 feet.
himself as one of the master sculptors of his generation with the
recently completed (1996) "sculpture plaza" for the Edwin A. Ulrich
Museum in Wichita, Kansas. In the tradition of his aesthetic
mentor, Isamu Noguchi, Moroles designed and sculpted from granite, a Granite Landscape
comprised of terraced slabs forming a stone riverway, a 30 foot long
"Fountain Wall" and a 30 foot long "Granite Weaving" wall.
Together, these works create a single environment that serves as an
entrance to the museum and an outdoor site to exhibit important
In the summer of 1996, Moroles celebrated the opening
of his Moroles Cultural Center, an exhibition, performance, and
studiospace located in the town of Cerillos, New Mexico (about 30 miles
south of Santa Fe). To date, Moroles' work has been included in
over 130 one-person exhibitions and over 200 group exhibitions.
He has lectured extensively about his work and the issue of public
sculpture. His work has been the subject of numerous articles and
reviews in ARTNEWS, Arts, Artforum, Artspace, Artweek, Newsweek, Southwest Art, Time, and The New York Times
as well as several books such as America Art Now, Art in the Eighties,
National Museum of American Art, Contemporary Art in Texas, and
Contemporary Art in New Mexico, and A Comprehensive Guide to Outdoor
Sculpture in Texas.
Reference: From the Artist
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