8 x 10 inchesGraphite, crushed madder root, and adhesives on linen.
Dell Keyboard
2019Plaster cast mixed with indigo dye
Untitled
(left)201865 x 28 inchesSalt crystals, cochineal, fabric dye, hemp fabric on stretched canvas.Untitled
(right)201865 x 28 inchesIndigo, pastel, and spray-paint on linen.
Mojave
201872 x 69.5 InchesFabric dye and spray-paint on muslin.
Contact
201872.5x67 InchesSpray-paint, wax, fabric dye on muslin.
Insides
201862 x 12 x 9 (HxWxD) InchesCochineal, annatto dye and indigo on muslin - stuffed with ployfil
"In my practice, I use natural dyes and pigments. I use these materials because the natural colors fade and change over time. These time-based pieces function as paintings that reference the bright color that once was. I use this to my advantage to play with the tint and shade of a color on a fabric. Chemical process and time are combined to create a work of art that destroys itself while it creates an image. The materials harvested from the landscape demonstrate the ability to function like a landscape. The natural colors are fragile. Every specific color reflects the landscape it was. I use this to my advantage to play with the tint and shade of a color on a fabric. Chemical process and time are combined to create a work of art that destroys itself while it creates an image. The materials harvested from the landscape demonstrate the ability to function like a landscape. The natural colors are fragile. Every specific color reflects the landscape it comes from. Each color has a specific purpose in the landscape. I want the viewer to live in the moment and experience my work as it is or was. As the work gradually fades and changes, the viewer will see another living iteration of the piece. Sunlight, as it sculpts the plants in nature; it also functions as a material that develops my image." -Yeltsin Penado
Up - Down
(left)201732 x 32 inchesFabric dye, bleach on linen. Frames are stained and waxed.Left-Right
(right)201732 x 54 inchesCochineal dye, copper sulfate, on muslin. Fabric sealed with PVA. Frames are stained and waxed.Info: On the left side of this piece the pink color is a dye made from dried Cochineal beetles. They are crushed a produce a crimson color. The cochineal is fixed to the canvas with Alum. On the left side of the piece there is Copper Sulfate which was created by steeping pennies in an ammonia solution over a long period of time. The pennies used for the dye are made entirely of copper; meaning they were produced before 1982.
Zeno's Paradox
2017Vinyl paint on canvas69.5 x 65 Inches
Topography
201772 x 69.5 InchesCyanotype on bleached muslin
Wilderness as Myth and Metaphor
2018Autry MuseumCopper Sulfate (penny dye), Madder Root, and indigo die on Raw silk and aluminum wire.
Untitled
201872x72x12 (HxWxD) InchesCopper pipes, wire, wood
<Yeltsin Penado and Peter Kalisch>2017
Matters (A)
(left)2018Fabric dye and spray-paint on hemp fabric.untitled
(center)2018(Audio Performance) dry pigments, pennies, and cotton on canvas.Matters (B)
(right)2018Fabric dye, Clorox bleach, spray-paint on hemp fabric.
<Peter Kalisch, Michael Gross, and Yeltsin Penado<
Mothership
2017Kombucha and cochineal beetles, cochineal dyed cotton
Loop
2018Indigo, cochineal, dye stain, salt and fabric dyes on muslin fabric.Painted cuts of redwood 69.5 inches each with cement support at the base.Group exhibition, featuring: Edgar Ramierz, Michael Gross, Jennifer Boyd-Einstein, and Amanda fu
Public Transportation
201723.5 x 23.5 inchesOil, acrylic, spray-paint on canvas.
Pour
16 x 12 inchesVinyl, and acrylic on linen.
Peter Kalisch and Yeltsin PenadoAcid dyes and plaster cast
Automatic Drawing
2017Thermal-chromatic blindfold, wooden planchette, pencil, paper.Additional: This was a performance in which I crafted a wooden planchette. While performing, a painting fell off the wall.
