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“This cultural chariot icon…the Lowrider.”

Gilbert “Magu”Lujan

 

 

Ranflas and the impact of the automobile, has affected the course of this
nation's history and status as a economic world player.
As a prominent component of car culture and production to this country's
industrial infrastructure is undisputed, yet some of the participants have
suffered unfair social biases.


The autombile has been a basic social influence of culture and economics
that also reflects the identification of it's enthusiasts as an informal
hierarchy of social roles, status and perceptions.
Whereas Auto racers have the acclaim of revered heroes and top class custom
show cars also fiercely compete for honors and money.

It is larger than just after-market car products that creates a hugh
multi-billion dollar enterprise.  It includes all the peripheral products attached to this subculture.  Auto manufacturers and all subsidiary companies providing sales or
marketing  services, employment or a very diverse array of auxillary markets products.

It's extended to include markets which broadly benefits economically
food venues/ transportation and travel / fashion and entrepreneurial efforts
for lifestyle products / energy sources / technical research / manufacturing /
media advertising / training / etc.

low-riders specifically have been a co-developers and encouraged
technological advances for inventive solutions that have made the sport
of 'car dancing' a popular culture event.
'Caritos bajitos' exhibitions that express a folk car art traditions
have grown into a major aesthetic player recently.

Our society is enmeshed with the country's identity with the auto mobile.
They are essentially cultural vehicles and social influences.
Art collections of this kind of customized transportation is now being
displayed as national nostalgia gatherings, business opportunities,
recreational activities and an artististic evolution of changing
philosophical design attitudes.

Making a Detroit machine conform to your aesthetic instincts or social
needs is at the core of the passion to modify, to personalize the
vehicles.  Function and artform has become combined into a syncrenized whole as mobile
sculptures without a strict or evident priority.


The Low-rider has become an icon and signature emblem of great pride.

 

Artist Statement

Gilbert “Magu”Lujan


As an artist, my interest in ranflas has been from early childhood and
throughout adolescence and as a personal art career signature motif.
My interest continues in using this cultural chariot icon as a Chicanada
emblem at it's sculptural best.

Low riding as an American sub-culture is undergoing a tremendous acceptance

of approval and as partners with other car enthusiasts as fellow
customizers or renovators of stock production vehicles.
This lifestyle of mobility has altered the ancient Mexican rituals with
cruising, in lieu, of the circular walks in small town plazas.

Low-rider culture as American is a foregone conclusion since it comes from
citizens and culture and vehicles that are all from the U..S.A.


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