Edison Blas is a painter from Oaxaca with a multidisciplinary artistic background. He is a graduate of Graphic Design at the Instituto Superior de Aplicaciones Modernas. In his trajectory he has participated in several workshops and courses of great importance, which have of great importance, which derive in the extensive handling of multiple techniques applied to his art. among others: the Bamboo workshop; General Engraving Course with the master Abraham Torres; Perspective and Human Figure Abraham Torres; Perspective and Human Figure with Per Anderson at TAGA; Marble Lithography Workshop with Marble Lithography Workshop with Per Anderson at the Taller Rufino Tamayo; Critical and Painting Workshop with Francisco Castro with Francisco Castro Leñero at the Centro de las Artes San Agustín (CASA), Oaxaca; Artist’s Book Workshop with the masters Nunik Sauret and Magali Lara, at the Centro de las Artes San Agustín (CASA), Oaxaca; Artist’s Book Workshop with San Agustín (CASA); Photopolymer Workshop with Byron Brauchli, at the Centro de las Artes San Agustín (CASA), Oaxaca. de las Artes San Agustín (CASA); Lost Wax Bronze Sculpture Project in the workshop of Mtro. Juan Santiago’s workshop in San Pablo, Etla, Oaxaca; as well as her participation in the High Temperature Ceramic High Temperature Ceramics Project at the CANELA Workshop, under the direction of Mtro. Claudio Jerónimo López Zedillo.

The plastic work of Edison Blas has been defined as opening “the doors of a biting and unusual imaginary and with enough plastic force to impose his most personal stamp. His painting is not a cabinet of gruesomeness, although the spectator perceives a certain degree of cruelty, ugliness or a stable of taboo stereotypes. Rather, his plastic work possesses the magnetization of a complex reading that can be defined as “a wasteland of mirrors” under the axiom: painting knows who we are.”

It has been said of Edison Blas’ artistic trajectory that “he explores, exhibits and demonstrates a constant activity in art, from watercolor pieces with libidinous colors and contained poetry, to the multiplicity of lines and colors that blur enormous faces that look like large heads of pre-Columbian cultures that observe everything. Living heads and dead heads that bring us closer to the ancestral, with a modern touch, with tints and airs typical of Mexico”.

In the series Los Rostros del Temperamento, exhibited at the Galería Parroquial de la Villa de Etla, the painter returns to the charge with a nourishing lymph that exhibits human nature in its most intimate, most sensitive and most chaotic fibers.