The Martlet (2019)

The following is a brief summary of how I commissioned a large oil painting, as well as a constant source of inspiration from my childhood.

Growing up in Portland Oregon, I spent a lot of time at the Bistro Montage, a creole restaurant that specialized in macaroni dishes. I liked it because it was open late, and at the time the “spicy mac” was only $2.

On the wall was a painting, seen here, which showed what appeared to be a man holding a diagram of a human heart, with a statue behind him and three men responding to this revelation in three different ways. In the background was a stage with curtains and two children holding candles. I recognized the man holding the scroll, and the statute man as being waiters at the restaurant.

I went on to become a surgeon and I never forgot that image of a stage, a window, the statue, the revelation of new information, and the three men reacting to the revelation. More than 20 years later, when I turned 40, I used that image for my birthday celebration’s program. After my birthday I was in Portland for business, and stopped by the Bistro Montage. Coincidentally the owner was there. I met with him, told him my story and showed him the program. He suggested I meet the artist, Salvador Perdomo. He had worked as a waiter there for several years and was now working elsewhere in Portland.

We met and I commissioned a variation of the painting for my office in New York City.

The painting arrived a year and a half later and is now in a prominent place in the headquarters of InterTrauma Consulting, where I work. There are also slightly smaller print versions in each of the satellite offices.

The original and the commissioned piece have a few differences that I would like to point out.

1. Instead of the fleur-de-lis, which was the logo for the the Bistro Montage, the tiles contain martlets, mythical birds with no feet which, in addition to being part of the logo for the company, represent the constant quest for knowledge and never being satisfied with the status quo.

2. The banner reads “a bird born in a cage believes flying is an illness.” This is a quote attributed to Alejandro Jodorowsky, the Chilean Philosopher, and is tied into the theme of the martlets in the tilework.

3. The stage is now empty. It was important to me to highlight how there is nothing inherently in life. We have to create our own meaning and value, and to fill it ourselves with knowledge and experiences.

The painting is a constant source of inspiration, and whereas the process of commissioning it and shipping it across the country was arduous at best, it has only added to the mystique and depth of this special piece.

Alex Guerrero

Prints are available