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Angel Rafael Vázquez-Concepción

@arvc.blog

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🇵🇷 visual artist based in California
📍 board member @richmondartcenter
📚 educator @sfunified
🏛 @cacollegeofarts alumni, class of 2015
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Celebrating 90 years of art, community, and creative possibility at the @richmondartcenter . ✨ So happy to share the evening with Alex and Michaela, and to celebrate an institution that has spent nearly a century making space for artists, ideas, experimentation, and connection. Here’s to the next 90. 🥂🎨 #RichmondArtCenter #RAC90 #BayAreaArt #ArtCommunity #RichmondCA
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Orgulloso de participar en esta muestra de arte en la isla, curada por @abdielsegarra para el @museomacpr 🇵🇷 “Diasporican Abstraction: Identities Beyond Representation, un proyecto curatorial de Abdiel D. Segarra Ríos que reúne el trabajo de más de cincuenta artistas de distintas generaciones para explorar la abstracción desde las experiencias de la diáspora, la migración y los intercambios culturales que emergen del tránsito circular entre Puerto Rico y otros territorios. La muestra propone la diáspora no solo como consecuencia del desplazamiento, sino como un espacio de producción cultural y un lugar de enunciación desde el cual replantear las narrativas de la abstracción y la identidad puertorriqueña.”
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Have a happy Wednesday, and many blessings from California 🫶
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the many machines of maybe, 2026, 24 inches x 24 inches | Acrylic and ink on canvas Within ‌these ‌many ‌machines of maybe, I fold in the historical tongues of modernism that have been moving through my work for years: Bauhaus discipline and its clean geometry, Art Deco’s bright decorative faith, the crisp modular logic of midcentury design, Googie’s upbeat, jet-age futurism, and Memphis with its cheerful refusal to behave. I’m not interested in pinning any of this down as a set of sealed-off chapters. Instead, I let the movements blur and bunch together until they start speaking as a single, speculative visual language that feels like mine. Forms repeat, but not as ornament for its own sake. They start acting like cells, circuits, architectural blocks, particles, components of an unfamiliar device, little systems that keep breaking apart and snapping back into different configurations. The painting treats modernism less as a completed promise of progress and more as a pile of futures that never fully arrived, still there to be shifted, re-sorted, and tried again. Repetition, here, doesn’t land on certainty. It opens room. Each module works like a small engine for imagining what might have been, what could still come into view, and the odd worlds tucked inside the word maybe.
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the modern meadow makes memory, 2026, 24 inches x 36 inches | Acrylic, ink, and copper on canvas With ‌The ‌Modern ‌Meadow Makes Memory, I set botanical shapes beside the modular geometry, bright color, and upbeat visual tone associated with mid-century modernism. Ornament, here, works like an archive. Repeated petals, cellular motifs, and built, architectural patterns hold onto the faint residue of futures once pictured through technology and design. Again and again in my work, I circle back to those inherited promises, not to pine for them, but to treat them as material that still breathes, letting the modern meadow recall, shift form, and flower once more.
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ubik, 2026, 24 inches x 36 inches | Acrylic, ink, and copper on canvas With ‌this ‌painting, ‌I’m answering Philip K. Dick’s Ubik, treating it as a place to sit with unstable reality, entropy, and the shaky frameworks we count on to keep everything from coming undone. Across the surface, a bright swarm of suns, seeds, and plantlike shapes pushes up hard against a heavy, pixel-blocked mass, a structure that looks like it’s assembling itself in the same breath that it starts to fracture. What holds my attention is that tense edge, the point where technology, memory, and physical life blur into one another, and where something beautiful still hangs on even if the world it belongs to is already pulling away.
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the architecture of almost belonging, 2026, 30 inches x 40 inches | Acrylic, ink, and copper on canvas With ‌The ‌Architecture ‌of Almost Belonging, I take the familiar look of floor plans, façades, courtyards, and cell-like structures and turn it into a quiet reflection on how close we come to one another. Shapes return again and again, stacking into thick, color-soaked clusters that read like neighborhoods, places where people are linked by rhythm, routine, and the spaces they share, but where complete unity never quite arrives. Belonging, for me, isn’t something settled or permanent. It’s built and rebuilt, worked out in the push and pull between intimacy and distance, between being seen and pulling back, between the group and the private self.
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“My research ‌centers on U.S. atomic culture and the stories we tell about nuclear technology. It grows out of years spent with mid-century design and architecture, especially the West Coast’s Googie afterglow and the often-dismissed, quietly smart logic of the dingbat. I pull threads from the history of abstraction, speculative fiction, and History with a capital H, then read the atomic age not just through science and policy, but through the everyday buildings that carried its mix of optimism, dread, and promised futurism out into the street. That focus doesn’t stop at art-making. It doubles as a way to speak back to arguments about humanity’s energy future, and to track what the atomic era left behind, architecturally and culturally, as those leftovers run headlong into the lived facts of climate change.” To learn more about my work and research please visit www.arvc.blog ✨
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orchard of unfinished calculations, 2026 36 inches x 48 inches | Acrylic, ink, and copper on canvas
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night bloom infrastructure, 2026 36 inches x 48 inches | Acrylic, ink, and copper on canvas
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Músicas para Postropodicea You can listen on my Bandcamp page. Art by @arvc.blog
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game theory, 2026 6 feet x 9 feet | Acrylic, vinyl, copper, ink, and steel grommets on canvas
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