[SINE NOMINE] WITHOUT NAME

20

QUESTIONS IN

2020

1.  Can you remember any events or any specific periods in your life which led you to develop your artistic temperament?

There are two specific periods in my life that come to mind.  When I was 8-years-old, I used to wake up very early in the morning, dreaming of black and white images being torn apart in front of me. It was as though I was standing in front of a surface covered with multiple images, like a poster wall of some sort and I was tearing out sections to reveal what was underneath.  In 2004 when the film “La Mala Educación” by Pedro Almódovar was released, I was amazed by what I saw.  The movie credits were almost an exact variation of the dreams I used to have as a child.  I had the same experience years later, in the late 80’s. However, this time around they were not dreams of black and white images, they were dreams of written words randomly selected and cut together, like an incoherent telegram, spinning around my head over and over again. I didn’t understand what was happening or why, until years later, when all my dream visions manifested in real life.

2.  “Stream of consciousness” has always been one of the most important components for you in the art making process.  From one moment to another you never know what will be your next thought or action.  But there is a level of certainty and confidence, and the way you work is very physical and energetic.  How do you know when a work is completed?  When do you stop?

I have absolutely no idea, your guess is as good as mine.  The result of my work is not only the result of my actions, but also the result of the challenges and struggles that I face daily, both visually and creatively.  I put all my energy into what I do.  There are good days and there are bad days, but also everything in between.  For me, it’s essentially about the intent that goes into the work.  Sometimes composition takes the lead, other times the subject matter.  Intuition, commitment, and dedication play a very important role in the process of art making for me. I follow line and imagery with my eye, I investigate, I explore, and above all I experiment. And then, it all simply comes to a stop, or not.  As Leonardo da Vinci once said, “Art is never finished, only abandon.”          

3.  There are certain recurring images in your work.  Namely, John the Baptist, San Sebastian, Venus in Front of a Mirror, Marilyn Monroe, María Félix, and Alfred Hitchcock. Also images of classical sculptures, the head of a bull, etc.  Can you please talk about the significance these images have for you.    

I’ve always been provoked by Marilyn Monroe.  I admire everything about her. One of the first things I did when I moved to Los Angeles was to go visit her tombstone.  I hold a great passion for cinema.  My mother and I use to watch old films from the Golden Age of Mexican Cinema.  I grew up watching María Félix, Sara Montiel, and Dolores del Río.  Consequently, my appreciation for cinema led me to discover directors like Carl Theodor Dreyer, Fritz Lang, Andrei Tarkovsky, Jean Cocteau, Luis Buñuel, Roberto Pasolini, Federico Fellini, Alfred Hitchcock, and so on.  As far as the John the Baptist and San Sebastián, well, there is an intense and beautiful side to religion, which a great deal of people don't really understand.  A lot of it has to do with history, tradition, and culture .  Some of the most powerful images I hold in my memory come from going to church every Sunday with my mother, seeing David by Michelangelo for the first time, and going to the Plaza de Toros. I was 5-years-old when my mother took me to go see my first bullfight.  In all, the images in my work come from the visual construct of what I have witnessed and experienced in my life.

4.  There is a lot going on in the art world, now more than ever.  We are witnessing a street art revolution worldwide - public vs private.  How did you know that you happened upon something of your own, something new?

I’ve always been a visionary and I have managed to invent new methods and techniques for myself.  But what I do is nothing new, it all has been done before in one way or another.  This has been going on for a very long time, early cave handprints for example.  As an artist, I have a tremendous responsibility to go deep within myself to discover who I am and render a singular interpretation of what I have seen, what I see, and how I see it.  The subject matter must be studied in great detail always and therein lies the opportunity and possibility of art for an artist.  I am incredibly exited about the street art revolution taking place all over the world.  I’m happy that this is happening here and now. We desperately need this street art revolution.  Having a voice, an opinion, an intent, a platform, it all matters. I fully support this movement.  And I strongly believe that art should be accessible to everyone, no matter what. 

5.  What does the word “ECOCIDE” mean to you in your work?

My intent is to bring awareness, that’s all. The literal meaning of the word has to do with the destruction of our natural environment and resources. There’s so much going on with our environment right now, and there’s no use in denying that. We need environmental justice in the world now more than ever. We are damaging and destroying our ecosystem at an alarming rate. I hope I live to see the day when ECOCIDE is accepted as an internationally punishable crime by the United Nations.

6.  Since we are doing 20 questions in 2020.  Who do you consider to be the artist of the 20th century, Matisse or Picasso?

That is a very difficult question for me, because I respect and love them both very much. But my answer is Matisse, without a question. Mainly because of what he was able to accomplish with line and paper cut-outs.  

7.  Would you say that the specific environment of this Pandemic, will contribute to the way artists create art? 

Absolutely!  Everyone is practically losing their minds in isolation, except artists of course.  Artists are the refuge of the construct, the hope for the future.  The language of art is incredibly important in times like these.  This period is also an opportunity to create, exchange ideas, and collaborate with people all over the world.  We have the tools, now more than ever.

8.  It is known that you have the tendency to attack and destroy your work from time to time - literally.  Do you find a certain satisfaction at the end?        

Yes!  I truly do.  In fact, I highly recommend it.  In a way, it’s like creating a Mandala. I need that energy, that meditation, and that physical movement in my work.  The force and rhythm I create always propels me to go further, deeper, and not judge my actions as a whole. So I just let it happen, however it concludes itself at the end.

9.  Your life has not been easy for you.  You were only 14-years-old when you moved to America by yourself.  How was art first nurtured in your life?

I bought my first box of oil pastels when I was child.  Why? I have absolutely no idea. I didn't know what to do with them, so I simply used my imagination.  I enrolled in a drawing class my first year of High School in America and from that moment on, everything changed for me.

10.  You have lived in New York, San Francisco, and Los Angeles.  How have you been able to adjust to an American environment?

I haven't been able to adjust, and still, I probably never will.  But the climate in California is one of the best in the world.  I love living in Los Angeles, but I love traveling more.  Of course all that has changed now do to COVID-19. Los Angeles feels like home to me, now more than ever.

11.  You have said that when you went abroad to live in France, Italy, and Spain, you wanted to study and explore your art further.  Was that necessary?

Yes, it was inherently necessary!  In a way, I felt that it was crucial for me to do this in order to expand my own cultural perception.  I believe I also did it to recreate and redirect all the visual memories I left behind, especially in Spain. I need to go back to collect myself and find more evidence of what had initially inspired me to become an artist.

12.  Do you ever face any conflicts when you produce art?

Yes.  In fact, I produce very little work at times. Because everything I produce takes a tremendous amount of effort and time. I have paintings that I’ve been working on for 10 years.   

13.  “Self criticism is a means to self-improvement.  The artist who is not continually analyzing and destroying his own technique is a poor [one].”  Cesare Pavese, 1939.  Have you ever felt the impulse to change or alter your own techniques in order to not become complacent with you artistic discoveries?

Yes, of course.  All the time.  I’m constantly exploring new methodologies in my work, and I try my best to always conclude my techniques into something other than what feels familiar to me.  I like experimenting and making mistakes.  The treatment of  mixed-medium, surface, and application fascinates me.  And I’m very committed to that concept.  But no matter what, I know I’m always going to be my very own worst critic.

14.  When I see your work, your character and personality always shines through.  Do you want people to see deeper beneath the surface of things? 

Yes, I do.  Every vision I have of the final imagery, composition, and design for what I create depends entirely on me. Always be curious and always take the time to investigate what’s beneath the surface of all things.

15.  How do you account for the fact that everyone is trying to do the same thing, copying and mimicking everyone else’s technique, considering the abundance of talented individuals throughout the world, who will never have the means to become artists?

Well, that’s a very complex question.  In current times, everyone thinks they’re an artist and everyone thinks that they can create art, but they’re wrong.  Overall, talent only accounts for very little.  The rest takes a great deal of love, passion, dedication, commitment, endless hours of hard work, and a tremendous set of efficient and resourceful skills.  An artist usually works 28 hours or more a day.  I know I do. 

16.  So from your early street photography days and up until now, you have taken plenty of risks shooting out on the streets.  Now the streets have almost become a commonplace to be photographed and documented.  Can you remember any one incident in which your position was undermined?  

Yes, always stay aware. I try my very best to stay focused, alert, and assertive.  Of course carrying a PANTAX 6X7 or a DSLR sometimes attracts the wrong attention.  But you must be quick and move by instinct with determination.  One very risky adventure took place in Downtown Los Angeles while shooting with a friend.  He got distracted and fell behind, when I looked back he was being mugged by 7 or 8 guys.  A homeless man and I came to his rescue.  He was very shaken by the experience.  Every time you shoot out on the streets, you’re taking a risk. 

17.  What is one of your favorite cities to document?

I have five.  I love the history, decay, and texture of San Francisco, London, Paris, Madrid, and Mexico City. 

18.  Who has influenced you the most in your life and why?

My mother.  Because she’s truly an artist, she just doesn’t know it.  I remember one occasion in particular, out of many.  We had just moved into a new home and she decided to paint the interior of one of the rooms in pink.  I stood back and watched her paint a common wall as though I was watching Willem de Kooning paint “Woman.”  It was a marvelous site.  What I saw and what I felt that day altered my creative process as an artist forever.  It was never the same for me after that moment. She truly taught me everything I know about painting.  There’re other influences of course, from college and university. Suzanne Bravender, to whom I owe su much. She was a mentor like no other - exceptional and extremely vital in my development and formation as an artist. Her beautiful artistic temperament, academic guidance, and boundless generosity will be with me always. Gayle Donahue, who I met in my first term at university. I’ve always had great admiration and respect for mentors who never allow academia to destroy the talent certain individuals have been given prior to entering an institution. Michelangelo, Da Vinci, Caravaggio, Velázquez, El Greco, Duchamp, Rauschenberg, and Warhol have been a tremendous influence for me as well.

19.  How do you interpret your philosophy as an artist?

I don’t, I mean I try not to.  Every interpretation, expression, representation, and gesture must always speak for itself.  There is a level of responsibility one must take as an artist in order to assess a particular philosophy about one’s work, I’m fully aware of that.  But a work of art is concluded by what the viewer sees in it, not by the philosophy of who has created the work.

20.  What does art mean to you during these times?

Well, whether we like it or not, life as we knew it has changed forever, and there’s absolutely nothing we can do about that.  Nothing will ever be the same after this period subsides.  We are approaching the end of 2020, and it is imperative to keep a 2020 vision inwards towards our own selves.  Artists have a great responsibility to bare witness to everything that we’re experiencing in this moment in time.  The beginning of the 21st century has not been easy by any means.  But we must prevail, so we can look back at this period some day and hold great admiration for what we were able to accomplish in life as an evolved human species. To interpret and manifest a vision as an artist during times like these, takes great courage.