The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this interview with Puerto Rican curator Mari Carmen Ramírez, Lorenzo Homar explains how he became interested in the silkscreen technique after working at the División de Educción de la Comunidad (DIVEDCO) and on experiments aimed at achieving the intricate plasticity characteristic of his work. Homar explains the different use of color in three distinct phases of his production. He discusses in depth the meaning of the portfolio Tres estrofas de amor para soprano [Three Stanzas of Love for Soprano], as well as the symbolism underlying the use of enamel which he employed in prints produced in 1973 and 1974. After discussing more recent experiments (1975–77), Homar speaks of possible comparisons between painting and printmaking, stating that the major differences between the two disciplines do not necessarily undermine the value of either.
The galleries that promoted graphic work by artists from Puerto Rico that opened in San Juan in the 1960s included Galería Isla (opened in 1963), Galería Sol (opened in 1964) and Galería Santiago (opened in 1965). Of them, the Galería Colibrí (opened in 1963) under the direction of Luigi Marrozzini (1933–1997) was particularly outstanding. It was sponsored by artists and by the Instituto de Cultura Puertorriqueña (ICP). In its first years, it focused solely on the exhibition and sale of graphic art from the island. This retrospective show of Lorenzo Homar’s work opened at the Museo de Arte in Ponce, Puerto Rico; it then toured to the Biblioteca José M. Lázaro [José M. Lázaro Library] at the Universidad de Puerto Rico, Río Piedras campus, where it was on exhibit from August 31 to September 30, 1978. In this interview with Ramírez, Homar explains his experiments in silkscreen with enamel and the use of repeated runs to obtain lines in relief.