Quevedo_Recent Works

“Darkness at the Edge of Time”
graphite with acrylic media on mylar,
27.5” x 27.5”
2013
The Richard B. Ferrier for Best Physical Entry-Professional,
Ken Roberts Delineation Competition 2013,
Jurors: Alex Hogrefe, Stephan Martiniere, Perry Kulper, 2013.

“The Monitor, part 2”
graphite with acrylic media on mylar,
23’ x 36”
2009
The Richard B. Ferrier for Best Physical Entry-Professional,
Ken Roberts Delineation Competition 2009

“Convergence Space”
ink, graphite with acrylic media on mylar,
18” x 24”
2005
Best of Show, Wiley Award for Best Hand Delineation-Professional and Juror’s Prize
Ken Roberts Delineation Competition, exhibited at the Dallas Museum of Art, 2005
The Richard B. Ferrier for Best Physical Entry-Professional

“Monument to the Moon”
graphite media on Strathmore paper
16” x 20”
2012
Finalist

“Permafrost”
mixed media on BFK paper,
2011
22” x 30”
Submission

“Fracked”
Colored Pencil on Strathmore paper,
2010
18” x 24”
Submission

“IN-Filtrated”
Graphite with Prismacolor on BFK paper
22” x 30”
2007
Finalist

“The Veiled Window”
digital hybrid collage with wood construction
6.5” x 9.5”
2005

Sgraffiti part one
Sgraffito and sgraffiti come from the Italian word sgraffiare (“to scratch”), ultimately from the
Greek γράφειν (gráphein) “to write”. Related terms include graffito and graffiti. In modern English
speaking languages, ‘graffiti’ is generally used.
Sgraffito (plural: sgraffiti; sometimes spelt scraffito) is a technique either of wall decor, produced
by applying layers of plaster tinted in contrasting colors to a moistened surface, or in ceramics, by
applying to an unfired ceramic body two successive layers of contrasting slip, and then in either
case scratching so as to produce an outline drawing.
This series of drawings explored the use of wall joint compound on plywood using graphite
drawings, which pick up the scratched surface of the plaster medium.
Detail of “The Real Estate”, Sgraffito 003
Graphite on Wall joint compound

Sgraffito No.001
Graphite on Joint Compound plaster on plywood
2003
17.0” x 17.0” x .5”

Sgraffito No.002
2003
17.0” x 17.0” x .5”

“The Real Estate”, Sgraffito No.003
2003
17.0” x 27.5” x .5”

“In Process”, Plaster model
Imperial plaster on wood, March 2013
8.0” x 13.0”

MarmoriniSince July 2014, the series of paintings collectively referred to as “the dialogues” explore
the relationships between art, music, and architecture. These works explore the isomorphic
languages, which are shared between these arts: light, harmony, order, materiality and the use of
the Golden Mean proportions as defined by Le Corbusier’s Modulor Red and Blue Series.
The paintings through the media of Venetian plaster, “marmorino” and wall surface materials
integrate the integral role of surface, line, field, spatial depth and the innate nature of the plasticity
of the media.
Each painting is built on Russian Baltic Birch Plywood panels and layered in either wall joint
compound or Venetian Imperial plaster with natural Earth pigments. Acrylics, also integrated into
the plaster media and graphite mixed with acrylic medium are employed as adjacent mixes. The
use of the plaster allows for a strong surface material, which is sanded to a smooth finish and
then burnished by a flat steel trowel to bring forth the reflective quality. In the case of the wall
compound, the natural matte finish is left in place. This material consists of limestone and mica,
which produces a shimmering, reflective coat.
Detail of No. 012: USG Wall Joint Compound Plaster
with Ultramarine Blue, Terra di Siena Bruciata and
Rosso Ercolano pigments.
Detail of No. 014: Behr Premium Plus Venetian Plaster
with Earth Pigments Blackcurrant Red and Golden
Acrylics Cadmium Red and Mars Black
Detail of No. 022: Behr Premium Plus Venetian Plaster
with Earth Pigments Roman Black, Golden Acrylics
Mars Black and Golden Iridescent Pearl

No. 001
color pigment integrated in plaster
with wood on Russian Baltic Birch plywood
6.5” x 10.5” x .75” (0.16m x 0.27m x 18mm)
July 2014

“The Arc”, No.002
with wood on plywood
10.5” x 27.5” x 0.5” ( 0.27m x 0.70m x 10mm)
July 2014

“Black Cloud” No. 003
color pigment, graphite, iron oxide, lapis lazuli
integrated in plaster on Russian Baltic Birch plywood
6.5” x 13” x .625” (0.16m x 0.33m x 15mm)
July 2014

“Measure 5 by Two”, No. 004
color pigment integrated in plaster on Russian Baltic Birch plywood
8” x 8” x 0.625” (0.20m x 0.20m x 15mm)
August 2014

“Mirror by the Sea” No. 005
color pigment integrated in plaster on Russian Baltic Birch plywood panel
8.0” x 13.0”x 0.625” ( 0.20m x 0.33m x 15mm)
August 2014

No. 006
8.0” x 13.0” x 0.625” (0.20m x 0.33m x 15mm)
August 2014

“The Splintered Bed” No. 007
8.0” x 13.0” x 0.625” (0.20m x 0.33m x 15mm)
August 2014

“And Word Became Flesh” No. 008
on pine panel
11” x 24.5” x 0.75” (0.28m x 0.62m x 020mm)
August 2014

“It’s All About the Ocean”, No. 009
on Russian Baltic Birch plywood panel
10.5” x 17.0” x 0.625” (0.27m x 0.43m x 15mm)
August 2014

“Ode to Sargent”, No. 010
10.5” x 17.0” x 0.625” (0.27m x 0.43m x 15mm)
August 2014

“Your Hidden Face” No. 011
24.0” x 48.0” x 0.625” (.61m x 1.22m x 15mm)
September 2014

No. 012
27.5” x 44.5” x .75” (.70 m x 1.13 m x 18 mm)
October 2014

“Fugitive Heart”, No. 013
color pigment integrated in imperial plaster with gold acrylic on panel,
10.25” x 10.25” x .75” (0.266m x 0.266m x 18mm)
November 2014

“The Big Red One”, No. 014
color pigment integrated in imperial plaster with acrylic
27.5” x 44.0” x .75” (.70 m x 1.13 m x 18 mm)
November 2014

“MRFJWTVen “, No. 015
color pigment integrated in imperial plaster with acrylic and graphite
27.5” x 44.0” x .75” (.70 m x 1.13 m x 18 mm)
November/December 2014

“Dis”, No. 016
17” x 27.5” x .75” (0.43m x 0.70m x 18mm)
December 2014

“And Dat”, No. 017
17” x 27.5” x .75” (0.43m x 0.70m x 18mm)
December 2014

“The Return”, No. 018 Triptych
color pigment integrated in imperial plaster with acrylic on Russian Baltic Birch plywood panel
3 at 8.0” x 8.0” x .75” (.22 m x .22 m x 18 mm)
December 2014

“Indifference”, No. 019
17” x 27.5” x .75” (0.43m x 0.70m x 18mm)
December 2014

“Haunted”, No. 020
color pigment integrated in imperial plaster
with acrylic on Russian Baltic Birch plywood
panel
1’-1” x 6’-0” x 0.75” (0.33m x 1.83m x 18mm)
January 2015

“Isolation”, No. 021
color pigment integrated
in imperial plaster with acrylic
1’-1” x 6’-0” x 0.75” (0.33m x 1.83m x 18mm)
January 2015

“Your Voided Heart”, No.022
color pigment integrated in imperial plaster
with acrylic on pine panel
11.25” x 48.25”x 0.75” (0.284m x 1.22m x 18mm)
January 2015

“Facciatone de Andrea”, No. 023
24” x 24”x 0.625” (0.61m x 0.61m x 18mm)
January 2015

No. 024
color pigment integrated in imperial plaster with acrylic on Purpleheart
(Peltogyne) wood block
5 7/8”” x 6 1/16”x 3 7/8” (150 mm x 155 mm x 100 mm)
January 2015

No. 025
8” x 8”x 0.625” (0.20m x 0.20m x 18mm)
January 2015

“Alichino and Calcabrina, Canto XXII, (after Doré )” No. 026
color pigment integrated in imperial plaster with acrylic on Russian Baltic birch plywood panel
24” x 24”x 0.625” (0.61m x 0.61m x 18mm)
February 2015
“But little it availed, for wings could not
Outstrip the fear; the other one went under,
And, flying, upward he his breast directed”
http://en.wikisource.org/wiki/The_Divine_Comedy/Inferno/Canto_XXII

“The Eagle”, Purgatory IX, 29, 30 (after Doré )” No. 027
color pigment integrated in imperial plaster with acrylic on Russian Baltic birch plywood panel
24” x 24”x 0.625” (0.61m x 0.61m x 18mm)
February 2015
“Terrible as the lightning he descended,
And snatched me upward even to the fire”

the enigmatic constructionsE-nigma, n. [L.aenigma; Gr. Ainigma(-atos.), a riddle, dark saying, from ainissesthai, to speak
darkly, speak in riddles, from ainos, a tale, a story.]
This series of watercolors were painted as a illustrations to a fragmented narrative. Loosely
based on the Renaissance story of the Hypnerotica Machina, a story in which the architectural
description and engravings overwhelm the plot, the enigmatic constructions developed as scenes
from a science fiction version of the tale. Each painting addressed a future world in enviromental
distress. Mechanisms inhabit the scenes continuing to measure and monitor a vanished world.

The Archeologist e.c. 001
graphite and watercolor on 300 lbs Arches
image: 14.5” x 14.5” on 22.5’ x 30.5”

The Monitor e.c. 002
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

Temple e.c. 005
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

Opera e.c. 006
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

The Island Constructed e.c. 007
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

Interstitial e.c. 008
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

The Secret Citadel e.c. 009 [digital series]
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

Polia’s Lament, e.c. 011 [digital series]
image: 14.5” x 14.5” on 22.5’ x 30.5”
2003

Artist’s Statement:
The Abstraction of Color
The role of color in architectural history is an expansive media, which shares and influences spatial reading
and depth. Together with the investigation of light, color plays a critical role in spatial understanding. Painting
as an adjacent practice among architects stemming from the Renaissance with training in multiple arts
continued in the modern works of Le Corbusier, Michael Graves, Carlo Scarpa among many others. In the
teaching of color theory, the physical properties of color interaction are explored as a means to enhance
architecture. Painting likewise serves as a media in which to explore abstractions of space in the two-
dimensions, relating back to the analogous compositions of plan, section, elevation, the three-dimensions in
perspective and the fourth-dimension through the promenade architecturale or sequence of space.
Investigations in color theory include the research of Josef Albers in his critical book, Interaction of Color, and
Le Corbusier’s work for the company, Salubra, and the Polychromi Architecturale color palettes as well as
his Purist paintings.
In these investigations, the creation of abstract paintings incorporates the making of color and spaces.
Measured in the proportions of the Golden Means proportions as defined by Le Corbusier’s Modulor, the
compositions explore field overlaps, transparencies and color adjacencies. Pure geometries combined with
representation of the organic world.
The color is made using common wall joint compound and Imperial plaster mixed with natural pigments,
allowing for a critical understanding of the nature of color and the production of creating specific colors. The
application process uses palette knives. Layers of color create a three-dimensional low relief, which allows
for recessive and advancing fields, augmenting the spatial readings. The compound can be thinned through
sanding producing physical transparencies to lower levels of color.
Artist Biography
Steve Quevedo received his Bachelor of Science in Architecture, 1985 and his Masters of Architecture, 1989
from the School of Architecture at the University of Texas at Arlington. His professional experience includes
experiences with the following offices: Andrea Clark Brown, A.I.A., Naples, Florida, HOK International,
Ltd. London, U.K. and the Office of Graham Greene, Dallas, Texas. In 1992, he was one of the founding
members of Firm X, Richard B. Ferrier Architecture, Hampton Quevedo King, a small collaborative focusing
on institutional, residential, public service and design competitions. Firm X received recognition in several
un-built design awards from the Dallas A.I.A. 1992, 1993, and 1995. The Dallas AIA also selected the firm’s
work was for the Small Firms, Great Projects exhibition. His drawings have also received several awards in
the Ken Roberts Delineation Competition.
Steve Quevedo is an Associate Professor of Architecture at UTA. He teaches basic design, conceptual
drawing and urban design in the undergraduate and graduate programs. Currently, his research involves
the construction of conceptual drawings using hand drawings, digital hybrid methods and the application of
plaster in paintings.
Special Thanks:
Bill Boswell
Jay Cantrell
Heath MacDonald
Sarah Rousey
Lee Wright
Bijan Youssefzadeh
Contact Information:
Steve Quevedo
1111 West Sanford Street
Arlington, Texas 76012
214-649-9633
squevedo@yahoo.com

© Images and text Steve Quevedo

Quevedo_Recent Works

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