tepping inside the redesigned space of the Rose Wagner Theatre, pushing my feet into a cushy burgundy carpet, I became aware of my new surroundings.

The massive levels of ribbon windows let the busyness of the downtown street and the morning light pour in. The vibrant color of the current exhibit is set well in the natural light.

The Rose Wagner Theatre is hosting a gallery of two well known local artists. The exhibition is rightfully named “Viva la Vida.” Live life.

The subjects of both artists are prosaic people full of the gestures and everyday moments of Mexican life forming a working union of two-dimensional and three-dimensional splendor.

Acrylic painter Marla Lepe Colmenero and her sculptor husband Guillermo Colmenero’s artwork is an impressive, vivacious landscape. Created with the traditional Mexican saturated color palette & Dia de Los Muertos (Day of the Dead) skeletons.

Marla Lepe-Colmenero utilizes the brightest colors in all of her displayed paintings. Her colors work almost as a metaphor. At the end of the balcony level at Rose Wagner is a painting of a young, intent girl. She looks out over the city aware, as though she has new vision. Her eyes are black, highlighted with gray and white. Marla Lepe-Colmenero paints the unnatural eye color with assuming correctness. It becomes as intuitive as a dark-brown eye.

While the color is grand, the provincial subject matter is honest. She displays people without concealing their imperfections. For example, there is a painting of a small boy titled, “Child,” the subject is robed in a rainbow of color. It is his ratty hair and hunched body that makes him a divine representation of human pathos.

As Marla Lepe-Colmenero is an acrylic painter, the medium lends itself to the stylized flatness of her work. She doesn’t seem interested in technically reproducing life, but is instead attracted to the naïveté of  a painting.

In “Mother with Baby,” she comments on the stylistic flatness of textiles on the woman’s dress. The flowers turn into shapes or patterns typical of fabric designers.

Guillermo Colmenero’s sculptures shine with an iridescent sparkle and are immediately intriguing upon entry to the Rose Wagner. Some of the figures are engaging in pleasant frivolity, passing the time in a normal, everyday setting. “Comadres” depicts two women engaging in casual conversation. Guillermo Colmenero has an outstanding talent for gesture. Words almost spill out of the mouths of his skeleton sculptures.

His dedication and work is vast. All of the nine sculptures on display were created in 2003. The sculptures are mixed-media, including bronze casting. He has additionally highlighted all of his sculptures with paint or glaze.

Guillermo Colmenero exudes a  knowledge of many types of people. “La Catrina,” standing approximately two feet in fire truck red, elegantly extends her high-society arm out in an assuming fashion.

Not all of his sculptures are this playful, as there are some very solemn pieces as well.

One of the more stoic artworks is a sculpture of a person rather than a skeleton titled, “The Prayer.” It portrays a woman kneeling. She wears a skeleton mask on her face. In life she  remembers death and becomes a portrait of wisdom.

“Gates of Hell” is one of the exhibit’s most moving pieces. The scene is cast in bronze. It depicts three of the dead wallowing, pleading and groveling at the feet of a poised, erect, gold-winged skeleton. The upright angel character is calm with determination. It points at an unseen figure with the understood authority that administers fate.

My personal favorite is “Canto,” which represents three dancing women. Their skirts flow with the correct physical motion and the figures gesture in the lifelike way that Guillermo cultivates. “Canto” would look nice in RED Magazine’s office.

Both artists have also paid tribute to Frida Kahlo in their respective media. Paintings of Kahlo are iconic and sit dignified at the welcoming edge of the show. They put a lot of time into these pieces in particular.

Marla Colmenero represents Kahlo in a tropical setting, based on one of Kahlo’s own works. It portrays Colmenero’s excellent understanding of color.

Guillermo Colmenero’s “Frida”  is the largest sculpture he has in the exhibit. He puts a similar amount of detail in her, but there are more ornate parts.

These artists couple their work well. Both have an acute and obvious love of their heritage. The exhibit is worthwhile and offers easy access for patrons or adept wanderers.

The Colmenero’s artwork is on display at Rose Wagner’s Performing Arts building, 138 W. Broadway (300 South). The artist reception is on the May 16 from 6:30 to 9:00 p.m. With one day’s notice, I advise you to keep tomorrow’s calendar clear. The exhibit is open to the public through the month of June and can be accessed Monday through Friday from 9:00 a.m. to 5:00 p.m.
stephanie@red-mag.com