Through his painting, he proposes that the peoples of the sierra should become aware of the importance of conserving their traditions and of feeling pride in their customs and traditions, as well as combining an aura of mystery and dreaming in which the present and the past coexist in astonishing harmony, the ancestral memory, tradition and modernity.
Lazo is known mainly as a painter, for his university education and under the tutelage of master Shinzaburo Takeda, as an engraver.
This is proved by his diploma and, furthermore, his subsequent studies at the Cornish College of the Arts, in Seattle, Washington, also focused on perfecting the engraving technique.
It can be said, therefore, that his step from printmaking to painting, in the early 1990s, was largely a self-teaching action.
Curiosity and imagination have now led Lazo to take another step on the path of experimentation to explore the world of sculpture.
Better said, to explore the intersections between engraving, sculpture and painting.
Because the architecture of these works is based on the simultaneous application of the three techniques.
Aire libre | Fulgencio LazoAgotado
Al compás de horizonte cálido | Fulgencio LazoAgotado
Baile Del Viento | Fulgencio Lazo
Conviviendo con el amarillo cálido | Fulgencio LazoAgotado
Cosecha de azucenas | Fulgencio LazoAgotado
Diario del danzante | Fulgencio LazoAgotado
El Acordeon | Fulgencio Lazo
Festival de las sonajas | Fulgencio LazoAgotado
La Partida | Fulgencio Lazo
La Posada De Familia | Fulgencio Lazo
Libres de frontera | Fulgencio LazoAgotado
Libres en el aire | Fulgencio LazoAgotado
Lluvia de colores | Fulgencio LazoAgotado
Los Cantones Nocturnos | Fulgencio Lazo
Los niños | Fulgencio LazoAgotado
Luces de la marina | Fulgencio LazoAgotado
Sin Titulo | Fulgencio Lazo
Viaje de las almas | Fulgencio LazoAgotado
Vientos azules | Fulgencio LazoAgotado
Viviendo con el agua azul | Fulgencio LazoAgotado