WEBVTT 00:00:00.000 --> 00:00:10.850 align:middle line:90% 00:00:10.850 --> 00:00:13.070 align:middle line:84% Thank you for joining us at today's program 00:00:13.070 --> 00:00:15.680 align:middle line:84% featuring artist Jaime Munoz presented 00:00:15.680 --> 00:00:18.350 align:middle line:84% as part of the Wignall Museum's Home Edition. 00:00:18.350 --> 00:00:20.790 align:middle line:84% Home Edition is a series of curated artist talks, 00:00:20.790 --> 00:00:22.490 align:middle line:84% workshops, and discussions featuring 00:00:22.490 --> 00:00:24.480 align:middle line:90% artists and cultural workers. 00:00:24.480 --> 00:00:25.910 align:middle line:84% My name is Rebecca Trawick, and I 00:00:25.910 --> 00:00:29.240 align:middle line:84% serve as the director and curator of the Wignall Museum. 00:00:29.240 --> 00:00:32.240 align:middle line:84% The Wignall Museum is a teaching museum and interdisciplinary 00:00:32.240 --> 00:00:35.250 align:middle line:84% arts space that introduces Chaffey College students, 00:00:35.250 --> 00:00:37.970 align:middle line:84% faculty, staff, and community members 00:00:37.970 --> 00:00:41.370 align:middle line:84% to innovative contemporary art objects and ideas. 00:00:41.370 --> 00:00:44.790 align:middle line:84% By fostering critical thinking, visual literacy, discourse, 00:00:44.790 --> 00:00:47.150 align:middle line:84% and empathy, the museum seeks to enhance 00:00:47.150 --> 00:00:50.790 align:middle line:84% the intellectual and cultural life of our community. 00:00:50.790 --> 00:00:53.450 align:middle line:84% We want to take a moment to recognize that we are situated 00:00:53.450 --> 00:00:56.510 align:middle line:84% on the Rancho Cucamonga campus of Chaffey College, which 00:00:56.510 --> 00:00:59.210 align:middle line:84% resides on the traditional and unceded lands of the Tongva 00:00:59.210 --> 00:01:00.480 align:middle line:90% people. 00:01:00.480 --> 00:01:02.870 align:middle line:84% We offer our recognition and respect to the elders 00:01:02.870 --> 00:01:04.790 align:middle line:90% both past, present, and future. 00:01:04.790 --> 00:01:08.830 align:middle line:90% 00:01:08.830 --> 00:01:11.080 align:middle line:84% Hello, my name is Roman Stollenwerk. 00:01:11.080 --> 00:01:14.110 align:middle line:84% I'm assistant curator at the Wignall Museum. 00:01:14.110 --> 00:01:19.270 align:middle line:84% Please visit us at www.chaffey.edu/wignall 00:01:19.270 --> 00:01:22.090 align:middle line:84% to access their full schedule of programs and available 00:01:22.090 --> 00:01:23.410 align:middle line:90% recordings. 00:01:23.410 --> 00:01:26.320 align:middle line:84% When possible, recordings are made available on our website. 00:01:26.320 --> 00:01:29.230 align:middle line:84% Announcements post to email subscribers and social media 00:01:29.230 --> 00:01:31.180 align:middle line:90% when new videos are available. 00:01:31.180 --> 00:01:33.550 align:middle line:84% All recordings on our site include captions and audio 00:01:33.550 --> 00:01:35.710 align:middle line:90% descriptions as options. 00:01:35.710 --> 00:01:37.250 align:middle line:84% You can follow us on social media, 00:01:37.250 --> 00:01:43.030 align:middle line:84% including Facebook, Instagram, and YouTube @WignallMuseum. 00:01:43.030 --> 00:01:44.800 align:middle line:84% Visit our website About Us page if you'd 00:01:44.800 --> 00:01:47.620 align:middle line:84% like to sign up to receive email announcements. 00:01:47.620 --> 00:01:50.080 align:middle line:84% And we also ask that you complete a brief survey after 00:01:50.080 --> 00:01:54.691 align:middle line:84% the session at ww.tinyurl.com/w ignallspring21visitorsurvey. 00:01:54.691 --> 00:01:58.930 align:middle line:90% 00:01:58.930 --> 00:02:00.750 align:middle line:90% Thank you. 00:02:00.750 --> 00:02:01.780 align:middle line:90% And hello, everyone. 00:02:01.780 --> 00:02:02.970 align:middle line:90% My name is Andy Hadle. 00:02:02.970 --> 00:02:04.890 align:middle line:84% I am the preparator at the museum. 00:02:04.890 --> 00:02:08.400 align:middle line:84% In a moment, Jaime Munoz will present his work. 00:02:08.400 --> 00:02:10.440 align:middle line:84% Any time remaining after the presentation 00:02:10.440 --> 00:02:13.230 align:middle line:90% will be available for Q&A. 00:02:13.230 --> 00:02:15.090 align:middle line:90% Thanks, Roman and Andy. 00:02:15.090 --> 00:02:17.220 align:middle line:84% So today, I have the pleasure to introduce 00:02:17.220 --> 00:02:19.275 align:middle line:90% our guest artist, Jaime Munoz. 00:02:19.275 --> 00:02:21.420 align:middle line:84% Jaime Munoz was born in Los Angeles 00:02:21.420 --> 00:02:25.620 align:middle line:84% and received a BA in fine arts at UCLA in 2016. 00:02:25.620 --> 00:02:27.240 align:middle line:84% The visual language of his work is 00:02:27.240 --> 00:02:29.790 align:middle line:84% focused on aspects of identity that come out 00:02:29.790 --> 00:02:32.250 align:middle line:84% of commodification of labor, religion, 00:02:32.250 --> 00:02:34.710 align:middle line:84% and the critique of Latin American colonialism 00:02:34.710 --> 00:02:36.330 align:middle line:90% and modernism. 00:02:36.330 --> 00:02:39.720 align:middle line:84% He is inspired by concepts of blood memory, the relationship 00:02:39.720 --> 00:02:43.560 align:middle line:84% that ancestral ties have to the present day experience. 00:02:43.560 --> 00:02:46.703 align:middle line:84% He has also inspired by the concept of Toyoteria, 00:02:46.703 --> 00:02:48.120 align:middle line:84% which was the working class shared 00:02:48.120 --> 00:02:51.780 align:middle line:84% experience through economic necessity around the R-series 00:02:51.780 --> 00:02:54.690 align:middle line:90% Toyota mini work trucks. 00:02:54.690 --> 00:02:56.340 align:middle line:84% A driving force in his technique is 00:02:56.340 --> 00:03:00.510 align:middle line:84% inspired by decorative aspects of common everyday life 00:03:00.510 --> 00:03:03.720 align:middle line:84% and ordinary objects found in his community. 00:03:03.720 --> 00:03:06.810 align:middle line:84% Munoz currently lives and works in Pomona, California. 00:03:06.810 --> 00:03:08.820 align:middle line:84% Jaime is also a graduate of Chaffey College, 00:03:08.820 --> 00:03:12.070 align:middle line:84% so we're delighted to have him with us today. 00:03:12.070 --> 00:03:15.810 align:middle line:84% Please join me in giving him a warm virtual welcome. 00:03:15.810 --> 00:03:18.220 align:middle line:90% Thanks, Jaime. 00:03:18.220 --> 00:03:19.790 align:middle line:90% Thank you for having me. 00:03:19.790 --> 00:03:22.570 align:middle line:84% It feels really good to circle back where 00:03:22.570 --> 00:03:31.960 align:middle line:84% I started in my art career, and I appreciate the invite 00:03:31.960 --> 00:03:33.850 align:middle line:84% and look forward to sharing what I've 00:03:33.850 --> 00:03:37.033 align:middle line:90% been working on since then. 00:03:37.033 --> 00:03:38.450 align:middle line:84% Starting off with this piece right 00:03:38.450 --> 00:03:42.920 align:middle line:84% here, this was a work that I made in 2019, 00:03:42.920 --> 00:03:44.930 align:middle line:84% and I'm starting off with this work 00:03:44.930 --> 00:03:52.400 align:middle line:84% because it's a work that kind of started this new body of work 00:03:52.400 --> 00:03:56.420 align:middle line:84% that I'm currently working on where 00:03:56.420 --> 00:04:02.750 align:middle line:84% I'm focusing on one aspect of my interests in my art. 00:04:02.750 --> 00:04:08.300 align:middle line:84% And this one in particular is basically 00:04:08.300 --> 00:04:11.330 align:middle line:84% looking at religiosity from the colonial period 00:04:11.330 --> 00:04:13.880 align:middle line:84% and really examining aspects of my identity, 00:04:13.880 --> 00:04:18.019 align:middle line:84% looking at the contradiction that exists in that history 00:04:18.019 --> 00:04:20.890 align:middle line:90% and in myself. 00:04:20.890 --> 00:04:24.350 align:middle line:84% But before I go there, I just want 00:04:24.350 --> 00:04:29.420 align:middle line:84% to talk about my background in art 00:04:29.420 --> 00:04:34.130 align:middle line:84% because of all of that is very informative of how I construct 00:04:34.130 --> 00:04:41.120 align:middle line:84% my compositions and my concepts and the meaning in my work. 00:04:41.120 --> 00:04:46.920 align:middle line:84% So I'm not sure if you guys know, 00:04:46.920 --> 00:04:50.490 align:middle line:84% but my background originally was in commercial art. 00:04:50.490 --> 00:04:52.330 align:middle line:84% The majority of my time spent at Chaffey, 00:04:52.330 --> 00:04:55.080 align:middle line:84% I was in the graphic design program. 00:04:55.080 --> 00:05:01.050 align:middle line:84% And during my time studying that, I've always 00:05:01.050 --> 00:05:04.700 align:middle line:90% been fascinated about-- 00:05:04.700 --> 00:05:05.510 align:middle line:90% how can I say it? 00:05:05.510 --> 00:05:08.830 align:middle line:90% 00:05:08.830 --> 00:05:13.810 align:middle line:84% Aggressive advertising, where you're seeing artists 00:05:13.810 --> 00:05:18.640 align:middle line:84% commission to push an idea or a belief to sell something. 00:05:18.640 --> 00:05:23.680 align:middle line:84% And I feel like when you look at contemporary times, 00:05:23.680 --> 00:05:25.720 align:middle line:84% it's easy to identify because when 00:05:25.720 --> 00:05:30.100 align:middle line:84% you look at hypercapitalism, it's all around us. 00:05:30.100 --> 00:05:35.620 align:middle line:84% But it's also interesting to see where that existed in the arts 00:05:35.620 --> 00:05:38.050 align:middle line:90% before modernity. 00:05:38.050 --> 00:05:39.760 align:middle line:90% When you look at-- 00:05:39.760 --> 00:05:43.300 align:middle line:84% specifically what I look at, what 00:05:43.300 --> 00:05:50.170 align:middle line:84% I've been looking at recently, in Latin American colonial art, 00:05:50.170 --> 00:05:53.440 align:middle line:84% I see it in the same vein like commissioned artists 00:05:53.440 --> 00:05:57.530 align:middle line:84% to push an idea or a belief on an agenda. 00:05:57.530 --> 00:06:00.040 align:middle line:90% 00:06:00.040 --> 00:06:07.810 align:middle line:84% So with this work I was starting off with the image of La Virgen 00:06:07.810 --> 00:06:10.570 align:middle line:90% de Guadalupe, which is-- 00:06:10.570 --> 00:06:15.790 align:middle line:84% her image exists in popular culture, 00:06:15.790 --> 00:06:20.110 align:middle line:84% that that's beyond just the confines of the church. 00:06:20.110 --> 00:06:23.140 align:middle line:84% And I always felt like that was radical, 00:06:23.140 --> 00:06:28.810 align:middle line:84% how her image was designed to, depending on your sources, 00:06:28.810 --> 00:06:33.940 align:middle line:84% either educate or colonize a native people. 00:06:33.940 --> 00:06:35.740 align:middle line:84% But then at the same time, once it 00:06:35.740 --> 00:06:38.200 align:middle line:84% enters in the theater of popular culture, 00:06:38.200 --> 00:06:41.260 align:middle line:84% the people can navigate and dictate 00:06:41.260 --> 00:06:43.710 align:middle line:84% how they relate to that, and that that's 00:06:43.710 --> 00:06:46.210 align:middle line:84% how I relate with all the religious iconography that I 00:06:46.210 --> 00:06:49.870 align:middle line:84% grew up with and the tension that I felt later 00:06:49.870 --> 00:06:56.080 align:middle line:84% on understanding the history of colonization and spirituality 00:06:56.080 --> 00:06:59.950 align:middle line:84% and capitalism and then the modernist period 00:06:59.950 --> 00:07:05.470 align:middle line:84% and just really exploring a lot of different avenues from that. 00:07:05.470 --> 00:07:08.020 align:middle line:90% 00:07:08.020 --> 00:07:11.920 align:middle line:84% So in this work, like I mentioned, 00:07:11.920 --> 00:07:14.920 align:middle line:84% the bottom half is La Virgen de Guadalupe, 00:07:14.920 --> 00:07:21.880 align:middle line:84% who was really modeled after the Mexica Earth goddess Tonantzin, 00:07:21.880 --> 00:07:26.890 align:middle line:84% or Coatlicue who is the Earth goddess. 00:07:26.890 --> 00:07:32.680 align:middle line:84% And so there's a lot of stylistic elements to her image 00:07:32.680 --> 00:07:35.650 align:middle line:84% that make her appealing to the native people. 00:07:35.650 --> 00:07:37.090 align:middle line:90% For instance, she's brown. 00:07:37.090 --> 00:07:43.060 align:middle line:84% There's images on her garment that are seen on other Mexica 00:07:43.060 --> 00:07:48.970 align:middle line:84% goddesses like Xochipilli, the god of art and, I think, dance. 00:07:48.970 --> 00:07:51.940 align:middle line:84% You would know, [INAUDIBLE],, Xochipilli. 00:07:51.940 --> 00:07:53.440 align:middle line:84% I'm glad you're here, because you're 00:07:53.440 --> 00:07:55.570 align:middle line:90% like the master of all of this. 00:07:55.570 --> 00:08:00.160 align:middle line:84% But some of the flowers found on that goddess's relics 00:08:00.160 --> 00:08:03.530 align:middle line:90% are seen here on her garment. 00:08:03.530 --> 00:08:06.790 align:middle line:84% So I wanted to create a composition that 00:08:06.790 --> 00:08:14.530 align:middle line:84% spoke to that history because growing up first generation 00:08:14.530 --> 00:08:18.910 align:middle line:84% Chicano, you're surrounded by this iconography. 00:08:18.910 --> 00:08:23.080 align:middle line:90% 00:08:23.080 --> 00:08:29.950 align:middle line:84% There's also, looking at the history of Latin American 00:08:29.950 --> 00:08:31.930 align:middle line:84% colonial painting, I just felt like there 00:08:31.930 --> 00:08:34.419 align:middle line:84% is like a lot of room there to try 00:08:34.419 --> 00:08:36.460 align:middle line:84% to recontextualize those narratives 00:08:36.460 --> 00:08:40.809 align:middle line:84% and create new iconography so that people can have an entry 00:08:40.809 --> 00:08:42.640 align:middle line:84% point into learning their history 00:08:42.640 --> 00:08:48.340 align:middle line:84% and that that's my intention with this recent body of work. 00:08:48.340 --> 00:08:50.350 align:middle line:84% It all started with this painting. 00:08:50.350 --> 00:08:55.360 align:middle line:84% And so like previously, I feel like my interest 00:08:55.360 --> 00:08:58.510 align:middle line:84% in each painting were all over the place. 00:08:58.510 --> 00:09:00.160 align:middle line:90% There's a chronology. 00:09:00.160 --> 00:09:02.075 align:middle line:84% There's like the colonial period, 00:09:02.075 --> 00:09:03.700 align:middle line:84% and there's things that I look at that. 00:09:03.700 --> 00:09:08.110 align:middle line:84% But then I'm also like looking at like the modernist period, 00:09:08.110 --> 00:09:10.750 align:middle line:84% and I'm looking at the commodification of labor 00:09:10.750 --> 00:09:14.860 align:middle line:84% and just the outcome of like the colonial period, 00:09:14.860 --> 00:09:20.620 align:middle line:84% looking at how in our country we saw a lot of that as progress. 00:09:20.620 --> 00:09:23.815 align:middle line:84% But from my experience, working class, 00:09:23.815 --> 00:09:25.960 align:middle line:84% it doesn't really feel like progress. 00:09:25.960 --> 00:09:28.390 align:middle line:84% So that's another aspect that I was 00:09:28.390 --> 00:09:32.150 align:middle line:84% exploring in other work that was all mixed up. 00:09:32.150 --> 00:09:37.330 align:middle line:84% So my intention was to hone in on one topic. 00:09:37.330 --> 00:09:44.740 align:middle line:84% So right now, it's this religious, colonial concept. 00:09:44.740 --> 00:09:48.520 align:middle line:84% This was the next piece that I made 00:09:48.520 --> 00:09:51.400 align:middle line:84% that's part of this series, and this one 00:09:51.400 --> 00:09:58.060 align:middle line:84% is titled 529 Years, basically the amount of years since 1492, 00:09:58.060 --> 00:10:03.760 align:middle line:84% which, looking at the history, I know my focus is Latin America. 00:10:03.760 --> 00:10:07.180 align:middle line:84% And I know the dates for that is a little later, like 1500s. 00:10:07.180 --> 00:10:12.940 align:middle line:84% But I'm still using 1492 as an index for just colonization 00:10:12.940 --> 00:10:18.490 align:middle line:84% of the Americas in general because I don't 00:10:18.490 --> 00:10:21.190 align:middle line:90% want to make it too confusing. 00:10:21.190 --> 00:10:26.560 align:middle line:84% So again, going back to my interest in commercial art, 00:10:26.560 --> 00:10:31.120 align:middle line:84% I gravitate towards iconography that exists in popular culture. 00:10:31.120 --> 00:10:39.130 align:middle line:84% And also, in particular for these two, this is a diptych. 00:10:39.130 --> 00:10:42.910 align:middle line:84% And the image you see in the back, 00:10:42.910 --> 00:10:49.020 align:middle line:84% that's actually what was produced by a printing 00:10:49.020 --> 00:10:54.630 align:middle line:84% company that existed from, like, the 1800s all the way 00:10:54.630 --> 00:10:57.930 align:middle line:90% to early 20th century. 00:10:57.930 --> 00:11:01.193 align:middle line:84% And I'm trying to remember their name. 00:11:01.193 --> 00:11:02.610 align:middle line:84% I wrote it down in here somewhere, 00:11:02.610 --> 00:11:05.100 align:middle line:84% but it's like Eve something and company. 00:11:05.100 --> 00:11:07.750 align:middle line:90% And it's a print that they made. 00:11:07.750 --> 00:11:10.770 align:middle line:84% So I was really interested that that image that 00:11:10.770 --> 00:11:13.230 align:middle line:84% is so commonly known was produced 00:11:13.230 --> 00:11:15.600 align:middle line:84% by this commercial printing company. 00:11:15.600 --> 00:11:22.940 align:middle line:84% And then in the center is a story of Popo and Itza. 00:11:22.940 --> 00:11:29.720 align:middle line:84% The work was also created by this artist Jesus Helguera, who 00:11:29.720 --> 00:11:32.920 align:middle line:90% was also a commercial artist. 00:11:32.920 --> 00:11:36.790 align:middle line:84% And another thing, both of the works 00:11:36.790 --> 00:11:40.510 align:middle line:84% were kind of made in the same period. 00:11:40.510 --> 00:11:42.010 align:middle line:84% So I just thought it was interesting 00:11:42.010 --> 00:11:49.300 align:middle line:84% how both of these images, juxtaposing them together 00:11:49.300 --> 00:11:51.550 align:middle line:90% has a lot of charged meaning. 00:11:51.550 --> 00:11:57.100 align:middle line:84% So with the narrative of Popo and Itza. 00:11:57.100 --> 00:12:00.640 align:middle line:84% There's an aspect of the narrative where 00:12:00.640 --> 00:12:03.740 align:middle line:90% Popo is cursing the heavens. 00:12:03.740 --> 00:12:09.470 align:middle line:84% So I kind of see that as a moment of reflection 00:12:09.470 --> 00:12:14.660 align:middle line:84% on the colonial history, and using 00:12:14.660 --> 00:12:17.450 align:middle line:84% that as the foreground in this work 00:12:17.450 --> 00:12:23.060 align:middle line:84% and kind of navigating that [? convo ?] 00:12:23.060 --> 00:12:25.270 align:middle line:90% with the crosshairs. 00:12:25.270 --> 00:12:30.905 align:middle line:84% And so in the image, he's pointing his arrow to the sky. 00:12:30.905 --> 00:12:32.530 align:middle line:84% That's the narrative that I was talking 00:12:32.530 --> 00:12:36.250 align:middle line:90% about of cursing the heavens. 00:12:36.250 --> 00:12:40.180 align:middle line:90% And-- well, let me just go back. 00:12:40.180 --> 00:12:45.725 align:middle line:84% And just if you guys are not familiar with the story of Popo 00:12:45.725 --> 00:12:51.310 align:middle line:84% and Itza., it's basically another version 00:12:51.310 --> 00:13:01.810 align:middle line:84% of Romeo and Juliet, where Popo, who was like a Mexica warrior, 00:13:01.810 --> 00:13:04.240 align:middle line:84% was in love with Itza but didn't have 00:13:04.240 --> 00:13:10.230 align:middle line:84% the approval of her father, and was sent off to war in hopes 00:13:10.230 --> 00:13:13.440 align:middle line:90% that he would die there. 00:13:13.440 --> 00:13:21.540 align:middle line:84% And her father told her that he died in battle, 00:13:21.540 --> 00:13:24.190 align:middle line:90% and then she died of sadness. 00:13:24.190 --> 00:13:26.645 align:middle line:84% And then when he returned, that's 00:13:26.645 --> 00:13:28.020 align:middle line:84% when he was scorning the heavens, 00:13:28.020 --> 00:13:30.360 align:middle line:84% and that's the climax of this narrative. 00:13:30.360 --> 00:13:32.250 align:middle line:84% And it's just interesting because this artist 00:13:32.250 --> 00:13:36.750 align:middle line:84% that I mentioned, Jesus Helguera, 00:13:36.750 --> 00:13:38.850 align:middle line:84% he's kind of documented different aspects 00:13:38.850 --> 00:13:39.930 align:middle line:90% of that narrative. 00:13:39.930 --> 00:13:42.930 align:middle line:84% And to me, I just found this part kind 00:13:42.930 --> 00:13:47.370 align:middle line:90% of the climax of that narrative. 00:13:47.370 --> 00:13:50.430 align:middle line:84% And I just thought it was interesting to kind 00:13:50.430 --> 00:13:54.390 align:middle line:84% of juxtapose them together and recontextualize, again, 00:13:54.390 --> 00:13:57.190 align:middle line:84% this religious iconography and say a little more. 00:13:57.190 --> 00:14:01.410 align:middle line:90% 00:14:01.410 --> 00:14:03.390 align:middle line:90% And one last thing. 00:14:03.390 --> 00:14:06.720 align:middle line:84% There's two volcanoes in Mexico City that are supposed 00:14:06.720 --> 00:14:08.250 align:middle line:90% to represent them as well. 00:14:08.250 --> 00:14:12.420 align:middle line:84% There's a dormant volcano that's supposed to represent Itza, 00:14:12.420 --> 00:14:16.570 align:middle line:84% and the active volcano supposed to represent Popo. 00:14:16.570 --> 00:14:17.070 align:middle line:90% Yeah. 00:14:17.070 --> 00:14:20.650 align:middle line:90% 00:14:20.650 --> 00:14:24.080 align:middle line:84% And I'm also starting to do something a little different 00:14:24.080 --> 00:14:26.860 align:middle line:90% in this work, too. 00:14:26.860 --> 00:14:30.340 align:middle line:84% Going back to my interest in commercial art, 00:14:30.340 --> 00:14:38.580 align:middle line:84% I was always really inspired by artists like-- 00:14:38.580 --> 00:14:45.160 align:middle line:84% I'm forgetting his name, but he did a lot of psychedelic poster 00:14:45.160 --> 00:14:48.250 align:middle line:84% art, and he used a lot of opposite colors 00:14:48.250 --> 00:14:51.430 align:middle line:90% to create this optical tension. 00:14:51.430 --> 00:14:55.720 align:middle line:90% 00:14:55.720 --> 00:14:59.140 align:middle line:84% And I always thought that that was interesting for him 00:14:59.140 --> 00:15:01.630 align:middle line:84% to do that because he was kind of breaking the rules 00:15:01.630 --> 00:15:05.050 align:middle line:84% that they teach you in graphic design. 00:15:05.050 --> 00:15:10.180 align:middle line:84% You know, you want to use colors that are pleasing to the eye. 00:15:10.180 --> 00:15:13.480 align:middle line:84% You want to use fonts that are legible. 00:15:13.480 --> 00:15:17.950 align:middle line:84% He was doing the complete opposite of all of that. 00:15:17.950 --> 00:15:23.320 align:middle line:84% And something about how the colors create 00:15:23.320 --> 00:15:26.170 align:middle line:84% this visual tension when you look at it, 00:15:26.170 --> 00:15:27.820 align:middle line:84% I was very interested in, because I 00:15:27.820 --> 00:15:30.340 align:middle line:84% know in religious art, whenever there's 00:15:30.340 --> 00:15:34.120 align:middle line:84% a visceral experience, that's supposed 00:15:34.120 --> 00:15:37.120 align:middle line:84% to be like you're feeling the grace of God, kind 00:15:37.120 --> 00:15:39.580 align:middle line:84% of like with stained glass windows when 00:15:39.580 --> 00:15:40.780 align:middle line:90% you go into a cathedral-- 00:15:40.780 --> 00:15:43.240 align:middle line:84% I learned this in your class, Machado-- 00:15:43.240 --> 00:15:44.740 align:middle line:84% when you go into a cathedral and you 00:15:44.740 --> 00:15:47.560 align:middle line:84% see the light shining through the stained glass, 00:15:47.560 --> 00:15:51.340 align:middle line:84% you're supposed to feel the visceral presence of God. 00:15:51.340 --> 00:15:53.710 align:middle line:84% And my intention in these works is 00:15:53.710 --> 00:15:56.230 align:middle line:84% to also try to create a visceral experience, 00:15:56.230 --> 00:16:01.450 align:middle line:84% but a decolonial re-contextualization 00:16:01.450 --> 00:16:04.120 align:middle line:90% of this history, you know? 00:16:04.120 --> 00:16:09.730 align:middle line:84% And just trying to basically do the same thing, 00:16:09.730 --> 00:16:11.385 align:middle line:90% but from a decolonial gaze. 00:16:11.385 --> 00:16:16.370 align:middle line:90% 00:16:16.370 --> 00:16:19.190 align:middle line:90% His name is-- hold on. 00:16:19.190 --> 00:16:25.010 align:middle line:90% 00:16:25.010 --> 00:16:27.650 align:middle line:90% Oh, yeah. 00:16:27.650 --> 00:16:29.270 align:middle line:90% Victor Moscoso. 00:16:29.270 --> 00:16:30.225 align:middle line:90% Yeah. 00:16:30.225 --> 00:16:31.600 align:middle line:84% I just forgot his name right now. 00:16:31.600 --> 00:16:33.183 align:middle line:84% I think it's just because I'm nervous. 00:16:33.183 --> 00:16:37.900 align:middle line:84% But that's the artist that really influenced me. 00:16:37.900 --> 00:16:39.700 align:middle line:84% And then this is the next work that I 00:16:39.700 --> 00:16:42.100 align:middle line:84% did where I'm basically doing the same thing, 00:16:42.100 --> 00:16:50.840 align:middle line:84% finding two charged images where there's two narratives that 00:16:50.840 --> 00:16:54.460 align:middle line:84% are close enough where I can juxtapose them together where 00:16:54.460 --> 00:16:58.130 align:middle line:90% you can create a narrative. 00:16:58.130 --> 00:17:00.460 align:middle line:84% So again here, like Michelangelo Pieta, 00:17:00.460 --> 00:17:05.010 align:middle line:84% another commercial artist commissioned to do this work. 00:17:05.010 --> 00:17:09.990 align:middle line:84% And then another moment in the narrative of Popo and Itza. 00:17:09.990 --> 00:17:13.170 align:middle line:90% From the artist Jesus Helguera. 00:17:13.170 --> 00:17:14.970 align:middle line:84% And I just thought it was interesting 00:17:14.970 --> 00:17:19.410 align:middle line:84% how the images are emulating each other. 00:17:19.410 --> 00:17:22.950 align:middle line:84% And I felt like Jesus was doing kind 00:17:22.950 --> 00:17:26.880 align:middle line:84% of what I was trying to do, like kind of hijack 00:17:26.880 --> 00:17:29.640 align:middle line:84% the imagery, the religious imagery, 00:17:29.640 --> 00:17:33.720 align:middle line:90% but placing the brown body. 00:17:33.720 --> 00:17:36.525 align:middle line:84% So that was kind of my intention here, too, 00:17:36.525 --> 00:17:40.680 align:middle line:84% to juxtapose these together, and also 00:17:40.680 --> 00:17:42.540 align:middle line:84% try to create this visceral experience again 00:17:42.540 --> 00:17:46.740 align:middle line:84% with the focal points of the paintings. 00:17:46.740 --> 00:17:50.970 align:middle line:84% And I feel like this one was the most successful one. 00:17:50.970 --> 00:17:55.200 align:middle line:84% If you had a chance to see it in person, 00:17:55.200 --> 00:17:57.180 align:middle line:84% if you look at it from a certain angle, 00:17:57.180 --> 00:18:03.270 align:middle line:84% it really does an optical thing, you know? 00:18:03.270 --> 00:18:06.810 align:middle line:84% The title of this work is Tension. 00:18:06.810 --> 00:18:12.270 align:middle line:84% And again, I chose to use that title because visually I'm 00:18:12.270 --> 00:18:19.260 align:middle line:84% juxtaposing two images that, to me, create a tension, but then 00:18:19.260 --> 00:18:23.100 align:middle line:84% also visually, there's a tension, too. 00:18:23.100 --> 00:18:26.550 align:middle line:84% Like when our eyes are seeing something 00:18:26.550 --> 00:18:31.830 align:middle line:84% that is challenging in terms of information, 00:18:31.830 --> 00:18:34.890 align:middle line:84% where that would create an optical effect, 00:18:34.890 --> 00:18:37.260 align:middle line:84% it's because it's creating a physical tension 00:18:37.260 --> 00:18:40.860 align:middle line:84% in your retina that's allowing you to experience 00:18:40.860 --> 00:18:44.070 align:middle line:90% this psychedelic experience. 00:18:44.070 --> 00:18:45.780 align:middle line:84% And so that was another reason why 00:18:45.780 --> 00:18:50.640 align:middle line:90% I decided to title it Tension. 00:18:50.640 --> 00:18:55.860 align:middle line:84% And then I actually made these in the middle. 00:18:55.860 --> 00:18:59.970 align:middle line:84% But I figured I would just kind of go with-- 00:18:59.970 --> 00:19:03.330 align:middle line:84% I made them at the same time, but the chronology 00:19:03.330 --> 00:19:08.130 align:middle line:84% seems better the way that I'm presenting it now. 00:19:08.130 --> 00:19:14.940 align:middle line:84% So this one's titled Shipping Container Apparition Number 00:19:14.940 --> 00:19:16.170 align:middle line:90% One. 00:19:16.170 --> 00:19:19.920 align:middle line:84% And again, I'm trying to just continue 00:19:19.920 --> 00:19:24.060 align:middle line:90% with the same narrative. 00:19:24.060 --> 00:19:28.350 align:middle line:84% And in it, a shipping container, to me, 00:19:28.350 --> 00:19:38.460 align:middle line:84% represents this idea of capitalism, commodification, 00:19:38.460 --> 00:19:42.760 align:middle line:84% but then also, when you look at the history of capitalism, 00:19:42.760 --> 00:19:46.860 align:middle line:84% it's alongside the history of religion. 00:19:46.860 --> 00:19:49.830 align:middle line:84% So I always felt that it's interesting, 00:19:49.830 --> 00:19:54.000 align:middle line:84% those two histories being juxtaposed together 00:19:54.000 --> 00:19:57.330 align:middle line:84% and trying to create a composition that's 00:19:57.330 --> 00:20:04.200 align:middle line:84% kind of saying something around there. 00:20:04.200 --> 00:20:09.040 align:middle line:84% I titled it Shipping Container Apparition 00:20:09.040 --> 00:20:14.940 align:middle line:84% because the focal point in these are a lot more abstract. 00:20:14.940 --> 00:20:18.390 align:middle line:84% And that's another thing that I'm interested in, 00:20:18.390 --> 00:20:24.340 align:middle line:84% the history of apparitions and how 00:20:24.340 --> 00:20:27.610 align:middle line:84% if you guys don't know what that is, 00:20:27.610 --> 00:20:40.600 align:middle line:84% it's basically when God, or some type of religious figure, 00:20:40.600 --> 00:20:44.320 align:middle line:84% appears in an inanimate object or something. 00:20:44.320 --> 00:20:48.520 align:middle line:84% And then they say, oh, this is an act of God, 00:20:48.520 --> 00:20:51.490 align:middle line:84% like this is the presence of God. 00:20:51.490 --> 00:20:57.280 align:middle line:84% And so I wanted to like incorporate that 00:20:57.280 --> 00:20:59.590 align:middle line:84% into this work, which I'm not sure 00:20:59.590 --> 00:21:06.910 align:middle line:84% if you can tell immediately that this is Christ. 00:21:06.910 --> 00:21:12.340 align:middle line:84% But I kind of wanted it to be not so obvious 00:21:12.340 --> 00:21:15.220 align:middle line:84% and force the viewer to spend time with the work 00:21:15.220 --> 00:21:18.970 align:middle line:90% to make that connection. 00:21:18.970 --> 00:21:21.190 align:middle line:84% And basically, this is another work 00:21:21.190 --> 00:21:24.730 align:middle line:84% that I made that was part of these two works. 00:21:24.730 --> 00:21:28.480 align:middle line:84% But both of these are going to be part of a group showing 00:21:28.480 --> 00:21:32.247 align:middle line:90% in Germany for Gallery Weekend. 00:21:32.247 --> 00:21:34.330 align:middle line:84% I'm not sure if you're familiar with the art fair, 00:21:34.330 --> 00:21:36.770 align:middle line:84% but I made them at the same time. 00:21:36.770 --> 00:21:40.700 align:middle line:84% So So the compositions are similar. 00:21:40.700 --> 00:21:43.180 align:middle line:90% But these two are not diptychs. 00:21:43.180 --> 00:21:45.910 align:middle line:90% They're not seen as one. 00:21:45.910 --> 00:21:48.250 align:middle line:90% They're separate works. 00:21:48.250 --> 00:21:54.070 align:middle line:84% And basically, it's the same concept with this one. 00:21:54.070 --> 00:21:57.820 align:middle line:84% And also, I feel like an aspect that 00:21:57.820 --> 00:22:02.090 align:middle line:84% inspired these two works was my experience growing up 00:22:02.090 --> 00:22:06.880 align:middle line:84% in Fontana, because that was a period in my life 00:22:06.880 --> 00:22:13.080 align:middle line:84% where my mom was really religious. 00:22:13.080 --> 00:22:18.750 align:middle line:84% But then also, I was around a lot of shipping containers 00:22:18.750 --> 00:22:24.240 align:middle line:84% and trucks because Fontana is kind of like a shipping port. 00:22:24.240 --> 00:22:27.510 align:middle line:84% So I just felt like these two panes 00:22:27.510 --> 00:22:30.180 align:middle line:84% are kind of indexical of that period in my life, where 00:22:30.180 --> 00:22:34.350 align:middle line:84% it was like both of those worlds coming together and kind 00:22:34.350 --> 00:22:37.687 align:middle line:90% of influencing me in this way. 00:22:37.687 --> 00:22:38.770 align:middle line:90% And that's pretty much it. 00:22:38.770 --> 00:22:40.950 align:middle line:84% That's all of the recent work that I've 00:22:40.950 --> 00:22:43.930 align:middle line:90% been working on right now. 00:22:43.930 --> 00:22:44.710 align:middle line:90% Thanks, Jaime. 00:22:44.710 --> 00:22:46.840 align:middle line:84% Can you tell us what the media is that you're 00:22:46.840 --> 00:22:49.100 align:middle line:90% working on in these paintings? 00:22:49.100 --> 00:22:52.750 align:middle line:84% All of the paintings are on wood panel. 00:22:52.750 --> 00:22:58.680 align:middle line:84% And they also have texture paste, glitter, and paper. 00:22:58.680 --> 00:23:01.790 align:middle line:90% And then is it oil, acrylic? 00:23:01.790 --> 00:23:02.420 align:middle line:90% Acrylic. 00:23:02.420 --> 00:23:03.030 align:middle line:90% Acrylic. 00:23:03.030 --> 00:23:04.170 align:middle line:90% Yeah. 00:23:04.170 --> 00:23:05.180 align:middle line:90% Wonderful. 00:23:05.180 --> 00:23:07.950 align:middle line:84% Thanks so much for sharing about your recent work. 00:23:07.950 --> 00:23:11.297 align:middle line:84% I'd love to open it up to questions of our guests. 00:23:11.297 --> 00:23:13.380 align:middle line:84% Yeah, I would just comment on a few things, Jaime. 00:23:13.380 --> 00:23:17.760 align:middle line:84% I just, of course, really enjoyed seeing your development 00:23:17.760 --> 00:23:20.430 align:middle line:90% over the last decade or so. 00:23:20.430 --> 00:23:23.380 align:middle line:84% Always a big fan of your work, having you 00:23:23.380 --> 00:23:25.530 align:middle line:84% and both your brothers in my classes, 00:23:25.530 --> 00:23:28.170 align:middle line:84% able to go to pre-Colombian exhibitions with all three 00:23:28.170 --> 00:23:29.650 align:middle line:84% of you was just a wonderful thing. 00:23:29.650 --> 00:23:30.630 align:middle line:84% You can see one of your brothers' works 00:23:30.630 --> 00:23:32.422 align:middle line:84% on the wall right behind my head, actually. 00:23:32.422 --> 00:23:34.600 align:middle line:90% Yeah, there you go. 00:23:34.600 --> 00:23:40.930 align:middle line:84% So you've become-- in addition to the visual arts 00:23:40.930 --> 00:23:43.040 align:middle line:84% you create, you've become a historian, 00:23:43.040 --> 00:23:45.310 align:middle line:90% a cultural storyteller. 00:23:45.310 --> 00:23:47.560 align:middle line:84% It's very important for the intersection of everything 00:23:47.560 --> 00:23:51.682 align:middle line:84% going on in the Inland Empire, your background, and everything 00:23:51.682 --> 00:23:53.390 align:middle line:84% that you've learned over the last decade. 00:23:53.390 --> 00:23:55.057 align:middle line:84% So it's really beautiful to see all that 00:23:55.057 --> 00:23:56.380 align:middle line:90% come together in your work. 00:23:56.380 --> 00:24:00.370 align:middle line:84% And as Rebecca said, coming back to Chaffey to speak. 00:24:00.370 --> 00:24:02.740 align:middle line:84% And as you did three years ago, you 00:24:02.740 --> 00:24:06.730 align:middle line:84% did an exhibition for a nonprofit, the arts area 00:24:06.730 --> 00:24:08.770 align:middle line:90% in Ontario. 00:24:08.770 --> 00:24:13.570 align:middle line:84% In the midst of your preparing for exhibitions on both coasts 00:24:13.570 --> 00:24:15.790 align:middle line:84% and internationally, you still took the time 00:24:15.790 --> 00:24:18.820 align:middle line:84% to put an exhibition on back here in the Inland Empire 00:24:18.820 --> 00:24:24.040 align:middle line:84% because like you say, you're indexing 00:24:24.040 --> 00:24:27.550 align:middle line:84% your understanding of your pre-Colombian, 00:24:27.550 --> 00:24:29.360 align:middle line:84% your colonial, your modern history, 00:24:29.360 --> 00:24:32.500 align:middle line:84% but also your physical history, your connections to the Inland 00:24:32.500 --> 00:24:37.210 align:middle line:84% Empire, now overlapping with all of these art centers, 00:24:37.210 --> 00:24:39.340 align:middle line:84% as they're more commonly identified, 00:24:39.340 --> 00:24:41.050 align:middle line:84% but recognizing the amount of creativity 00:24:41.050 --> 00:24:42.410 align:middle line:90% that we have here locally, too. 00:24:42.410 --> 00:24:45.008 align:middle line:84% So anyway, I just wanted to comment on that. 00:24:45.008 --> 00:24:46.050 align:middle line:90% Thank you for everything. 00:24:46.050 --> 00:24:49.630 align:middle line:84% And I always enjoy seeing your new work. 00:24:49.630 --> 00:24:51.550 align:middle line:90% Thank you, John. 00:24:51.550 --> 00:24:55.900 align:middle line:84% Oh, I see a question here from Edith. 00:24:55.900 --> 00:24:59.543 align:middle line:90% I just want to say, hi, Edith. 00:24:59.543 --> 00:25:01.460 align:middle line:84% It's been a long time since I worked with her. 00:25:01.460 --> 00:25:04.000 align:middle line:84% I remember I worked with her in the Wignall. 00:25:04.000 --> 00:25:09.040 align:middle line:84% But she was asking me that she's reading 00:25:09.040 --> 00:25:11.260 align:middle line:84% the Painting Through an Environmental Lens, too. 00:25:11.260 --> 00:25:14.180 align:middle line:84% And I'm happy she's saying that because that's something 00:25:14.180 --> 00:25:22.240 align:middle line:84% that I think about when you look at the history of colonization, 00:25:22.240 --> 00:25:27.790 align:middle line:84% and then leading up to the modernist period, all 00:25:27.790 --> 00:25:31.060 align:middle line:84% of those capitalist modes of progress 00:25:31.060 --> 00:25:34.510 align:middle line:84% that we've seen for so long as progress is kind of catching up 00:25:34.510 --> 00:25:40.810 align:middle line:84% to us now, whether it being humanitarian issues 00:25:40.810 --> 00:25:41.980 align:middle line:90% or environmental. 00:25:41.980 --> 00:25:46.000 align:middle line:84% And so that is definitely something that I think about, 00:25:46.000 --> 00:25:46.930 align:middle line:90% too. 00:25:46.930 --> 00:25:52.120 align:middle line:84% And I didn't mention this, but with the last two paintings, 00:25:52.120 --> 00:25:54.790 align:middle line:84% the shipping container apparitions, another thing 00:25:54.790 --> 00:26:01.570 align:middle line:84% that I liked about abstracting the image of Christ 00:26:01.570 --> 00:26:07.740 align:middle line:90% was also they looked like maps. 00:26:07.740 --> 00:26:15.020 align:middle line:84% So thinking of the map, I'm also kind of thinking of the globe. 00:26:15.020 --> 00:26:19.100 align:middle line:84% And I do think of environmental issues, 00:26:19.100 --> 00:26:23.540 align:middle line:84% too, alongside the humanitarian issues that modernism 00:26:23.540 --> 00:26:25.640 align:middle line:90% has brought us to. 00:26:25.640 --> 00:26:28.550 align:middle line:90% It's just interesting. 00:26:28.550 --> 00:26:31.490 align:middle line:90% People have been disposable. 00:26:31.490 --> 00:26:35.510 align:middle line:84% You know, the commodification of human labor is apparent. 00:26:35.510 --> 00:26:41.630 align:middle line:84% But we only have one Earth, and that isn't disposable. 00:26:41.630 --> 00:26:46.040 align:middle line:84% We fuck that one up once, and we're fucked, you know? 00:26:46.040 --> 00:26:52.970 align:middle line:84% And that's where I feel where we're at right now, 00:26:52.970 --> 00:26:53.840 align:middle line:90% in terms of climate. 00:26:53.840 --> 00:26:57.280 align:middle line:90% 00:26:57.280 --> 00:26:59.955 align:middle line:90% It's all catching up to us. 00:26:59.955 --> 00:27:01.330 align:middle line:84% I don't know if that makes sense, 00:27:01.330 --> 00:27:06.800 align:middle line:84% but anyway, I just wanted to comment on Edith's observation. 00:27:06.800 --> 00:27:07.300 align:middle line:90% Yeah. 00:27:07.300 --> 00:27:08.560 align:middle line:90% Thanks, Jaime. 00:27:08.560 --> 00:27:10.450 align:middle line:84% Oh, another person said, what made 00:27:10.450 --> 00:27:14.260 align:middle line:84% you switch from graphic design, commercial art to fine art? 00:27:14.260 --> 00:27:19.600 align:middle line:90% 00:27:19.600 --> 00:27:25.600 align:middle line:84% Honestly, it was Mitchell Syrop because he 00:27:25.600 --> 00:27:27.520 align:middle line:90% was my graphic design teacher. 00:27:27.520 --> 00:27:32.620 align:middle line:84% And all the way up to the end of my time at Chaffey, 00:27:32.620 --> 00:27:37.270 align:middle line:84% I was ready to transfer to the university 00:27:37.270 --> 00:27:39.520 align:middle line:84% to finish my degree in commercial art. 00:27:39.520 --> 00:27:42.770 align:middle line:84% But then I did the student invitational, 00:27:42.770 --> 00:27:48.490 align:middle line:84% and he was like, hey, I think you should reconsider and apply 00:27:48.490 --> 00:27:50.522 align:middle line:90% for fine art. 00:27:50.522 --> 00:27:52.480 align:middle line:84% But I was always really hesitant because coming 00:27:52.480 --> 00:27:57.130 align:middle line:84% from my background, working class, 00:27:57.130 --> 00:28:04.000 align:middle line:84% it's a big decision to choose to do fine art when you're 00:28:04.000 --> 00:28:06.100 align:middle line:90% thinking of your livelihood. 00:28:06.100 --> 00:28:08.620 align:middle line:90% It's a big gamble. 00:28:08.620 --> 00:28:12.220 align:middle line:84% So the closest thing that I felt I 00:28:12.220 --> 00:28:16.570 align:middle line:84% was able to pursue that would gain me economic stability 00:28:16.570 --> 00:28:17.890 align:middle line:90% was commercial art. 00:28:17.890 --> 00:28:22.570 align:middle line:84% And I thought, oh, that seems more practical. 00:28:22.570 --> 00:28:27.640 align:middle line:84% But Mitchell convinced me to at least try 00:28:27.640 --> 00:28:30.910 align:middle line:84% to apply to at least one school for fine art, 00:28:30.910 --> 00:28:34.890 align:middle line:84% and he convinced me to apply to UCLA. 00:28:34.890 --> 00:28:36.640 align:middle line:84% And that was the only school I applied to, 00:28:36.640 --> 00:28:39.340 align:middle line:84% and I was like, well, if I get into there, then I'll do it. 00:28:39.340 --> 00:28:41.560 align:middle line:84% If I don't, then I'll just continue on the path 00:28:41.560 --> 00:28:43.870 align:middle line:90% that I was on. 00:28:43.870 --> 00:28:51.040 align:middle line:84% But it was a spontaneous decision. 00:28:51.040 --> 00:28:55.030 align:middle line:84% I was thinking maybe I could bounce off that topic 00:28:55.030 --> 00:28:57.735 align:middle line:84% that you're just running with right now 00:28:57.735 --> 00:28:59.860 align:middle line:84% with another question, if you're all right with it. 00:28:59.860 --> 00:29:00.790 align:middle line:90% Yeah, yeah, of course. 00:29:00.790 --> 00:29:01.570 align:middle line:90% Yeah. 00:29:01.570 --> 00:29:06.730 align:middle line:84% So as a former Chaffey student, a product of a community 00:29:06.730 --> 00:29:09.160 align:middle line:84% college, if you will, do you have 00:29:09.160 --> 00:29:14.440 align:middle line:84% any advice for young artists or any of our graduates 00:29:14.440 --> 00:29:16.790 align:middle line:90% or creative minds? 00:29:16.790 --> 00:29:18.550 align:middle line:90% OK. 00:29:18.550 --> 00:29:19.930 align:middle line:90% Yeah. 00:29:19.930 --> 00:29:26.290 align:middle line:84% I think that's a very important question 00:29:26.290 --> 00:29:30.610 align:middle line:90% to raise for creative people. 00:29:30.610 --> 00:29:33.970 align:middle line:84% I have two younger brothers who are also 00:29:33.970 --> 00:29:36.760 align:middle line:84% interested in the creative world. 00:29:36.760 --> 00:29:44.350 align:middle line:84% And I always tell them, just really be 00:29:44.350 --> 00:29:48.820 align:middle line:84% true and honest to yourself in where your identity is at. 00:29:48.820 --> 00:29:51.685 align:middle line:90% If you feel like-- 00:29:51.685 --> 00:29:55.170 align:middle line:90% 00:29:55.170 --> 00:29:55.950 align:middle line:90% how can I say it? 00:29:55.950 --> 00:29:59.130 align:middle line:90% 00:29:59.130 --> 00:30:05.820 align:middle line:84% Whatever you feel is going to bring you satisfaction in life 00:30:05.820 --> 00:30:08.940 align:middle line:84% naturally, without any expectation. 00:30:08.940 --> 00:30:12.600 align:middle line:84% And I do understand once you commodify that joy, 00:30:12.600 --> 00:30:15.370 align:middle line:84% it changes your relationship to it. 00:30:15.370 --> 00:30:17.640 align:middle line:84% But I feel like that gives you a head start 00:30:17.640 --> 00:30:20.430 align:middle line:84% into success because you're not really 00:30:20.430 --> 00:30:23.205 align:middle line:84% forcing yourself to be somewhere where you don't belong. 00:30:23.205 --> 00:30:26.400 align:middle line:90% 00:30:26.400 --> 00:30:31.440 align:middle line:84% And that's the advice that I give my brothers. 00:30:31.440 --> 00:30:33.750 align:middle line:84% Whatever you decide to do, whatever 00:30:33.750 --> 00:30:36.360 align:middle line:84% path you choose to be on, it's going 00:30:36.360 --> 00:30:39.450 align:middle line:84% to require a lot of discipline because talent doesn't take you 00:30:39.450 --> 00:30:41.580 align:middle line:90% all the way. 00:30:41.580 --> 00:30:44.220 align:middle line:84% We live in a system, and there's a way things, go 00:30:44.220 --> 00:30:47.880 align:middle line:84% and not everyone gets the same opportunities. 00:30:47.880 --> 00:30:49.920 align:middle line:84% Sometimes it just matters where you're at, 00:30:49.920 --> 00:30:52.230 align:middle line:90% where you get an opportunity. 00:30:52.230 --> 00:30:55.050 align:middle line:90% 00:30:55.050 --> 00:30:59.620 align:middle line:84% And yeah, just talent doesn't take you all the way. 00:30:59.620 --> 00:31:01.772 align:middle line:84% It requires a lot of discipline and hard work. 00:31:01.772 --> 00:31:03.480 align:middle line:84% But if you're not willing to stick around 00:31:03.480 --> 00:31:12.240 align:middle line:84% during that period of sacrifice, then find the thing that you're 00:31:12.240 --> 00:31:18.540 align:middle line:84% able to, I guess, be more comfortable making sacrifices 00:31:18.540 --> 00:31:19.440 align:middle line:90% for, I guess. 00:31:19.440 --> 00:31:22.170 align:middle line:90% You know what I mean? 00:31:22.170 --> 00:31:26.940 align:middle line:84% And yeah, that's what I would say. 00:31:26.940 --> 00:31:28.068 align:middle line:90% Yeah. 00:31:28.068 --> 00:31:30.360 align:middle line:84% We're probably all tired of talking about the pandemic. 00:31:30.360 --> 00:31:34.098 align:middle line:84% But I really do think it's interesting. 00:31:34.098 --> 00:31:35.640 align:middle line:84% You know, we talk to so many artists. 00:31:35.640 --> 00:31:38.220 align:middle line:84% And for some folks, it's literally completely 00:31:38.220 --> 00:31:39.180 align:middle line:90% changed their practice. 00:31:39.180 --> 00:31:42.600 align:middle line:84% And for other people, it's just maybe given more studio time, 00:31:42.600 --> 00:31:45.330 align:middle line:84% or it hasn't become a focal point, or even 00:31:45.330 --> 00:31:48.240 align:middle line:90% a sort of underlying subtext. 00:31:48.240 --> 00:31:52.350 align:middle line:84% So I'm curious to know how the last year plus has affected 00:31:52.350 --> 00:31:55.410 align:middle line:90% or not affected your practice. 00:31:55.410 --> 00:31:57.090 align:middle line:90% It hasn't really affected it. 00:31:57.090 --> 00:32:01.258 align:middle line:84% I've already kind of lived a lifestyle in solitude 00:32:01.258 --> 00:32:02.175 align:middle line:90% working in the studio. 00:32:02.175 --> 00:32:07.590 align:middle line:90% 00:32:07.590 --> 00:32:11.490 align:middle line:84% But it definitely has impacted how I relate 00:32:11.490 --> 00:32:15.990 align:middle line:90% to the world in terms of death. 00:32:15.990 --> 00:32:18.780 align:middle line:84% I have been thinking of death a lot more. 00:32:18.780 --> 00:32:20.370 align:middle line:84% And maybe that's the reason why I've 00:32:20.370 --> 00:32:27.780 align:middle line:84% been focusing on this decolonial, spiritual vein 00:32:27.780 --> 00:32:28.450 align:middle line:90% in my work. 00:32:28.450 --> 00:32:29.130 align:middle line:90% I don't know. 00:32:29.130 --> 00:32:33.240 align:middle line:84% But I have been thinking about that a lot. 00:32:33.240 --> 00:32:35.610 align:middle line:84% And there was a period during the pandemic 00:32:35.610 --> 00:32:40.470 align:middle line:84% where I got really sick, where I thought I had COVID. 00:32:40.470 --> 00:32:42.720 align:middle line:90% But it wasn't. 00:32:42.720 --> 00:32:46.290 align:middle line:84% But that was kind of like a reality check 00:32:46.290 --> 00:32:50.220 align:middle line:84% where it was like, oh, man, this is scary, 00:32:50.220 --> 00:32:53.130 align:middle line:84% because I was experiencing the symptoms of it. 00:32:53.130 --> 00:32:54.840 align:middle line:90% And I really felt like I had it. 00:32:54.840 --> 00:32:58.830 align:middle line:90% But it wasn't that. 00:32:58.830 --> 00:33:07.500 align:middle line:84% So yeah, just in the sense of thinking of death. 00:33:07.500 --> 00:33:09.060 align:middle line:90% Yeah. 00:33:09.060 --> 00:33:13.670 align:middle line:84% I think it's on everybody's brains quite [INAUDIBLE] 00:33:13.670 --> 00:33:15.990 align:middle line:90% than the past. 00:33:15.990 --> 00:33:18.870 align:middle line:84% But I wanted to ask about your inspiration 00:33:18.870 --> 00:33:21.660 align:middle line:90% that you derive from Toyoteria. 00:33:21.660 --> 00:33:23.430 align:middle line:90% Am I saying it correctly? 00:33:23.430 --> 00:33:25.312 align:middle line:90% I'm curious to know-- 00:33:25.312 --> 00:33:27.270 align:middle line:84% we may not see it in your current body of work, 00:33:27.270 --> 00:33:33.120 align:middle line:84% but I'm curious how it translates into your practice. 00:33:33.120 --> 00:33:36.150 align:middle line:90% So it's Toyoteria. 00:33:36.150 --> 00:33:45.290 align:middle line:84% So going back to my background, working class, 00:33:45.290 --> 00:33:50.670 align:middle line:90% I grew up around working trucks. 00:33:50.670 --> 00:34:00.400 align:middle line:84% And my mind shifted there when I did this video piece at UCLA, 00:34:00.400 --> 00:34:03.930 align:middle line:84% where I was juxtaposing the image of a horse and a pickup 00:34:03.930 --> 00:34:08.429 align:middle line:90% truck running in a landscape. 00:34:08.429 --> 00:34:12.540 align:middle line:84% And at the time, that work was more intuitive. 00:34:12.540 --> 00:34:14.670 align:middle line:90% It just made sense somehow. 00:34:14.670 --> 00:34:17.400 align:middle line:84% And then after I made it, that's where 00:34:17.400 --> 00:34:20.130 align:middle line:90% the meaning started developing. 00:34:20.130 --> 00:34:24.900 align:middle line:84% And a big inspiration in where that conversation went 00:34:24.900 --> 00:34:27.330 align:middle line:84% was the conversation I had with my grandfather 00:34:27.330 --> 00:34:33.060 align:middle line:84% where he was talking to me about his experience with modernism 00:34:33.060 --> 00:34:38.370 align:middle line:84% catching up to his Pueblo, where he's from in Jalisco, Mexico, 00:34:38.370 --> 00:34:41.130 align:middle line:84% and seeing the transition of when people 00:34:41.130 --> 00:34:43.770 align:middle line:84% stopped using the horse and started 00:34:43.770 --> 00:34:46.650 align:middle line:90% using machinery a lot more. 00:34:46.650 --> 00:34:51.360 align:middle line:84% And so the conversation was around the technology of it, 00:34:51.360 --> 00:34:54.719 align:middle line:84% but then also seeing human labor as a form of technology 00:34:54.719 --> 00:34:57.510 align:middle line:90% that's been commodified. 00:34:57.510 --> 00:35:02.340 align:middle line:84% And when you look at the early Modernist period, 00:35:02.340 --> 00:35:05.640 align:middle line:84% that's the early history of civil rights period or working 00:35:05.640 --> 00:35:11.050 align:middle line:84% class history, where it's like a history 00:35:11.050 --> 00:35:18.010 align:middle line:84% of the mechanization of labor, where whatever human 00:35:18.010 --> 00:35:20.650 align:middle line:84% that exists in a human being is taken out 00:35:20.650 --> 00:35:23.830 align:middle line:90% to standardize the production. 00:35:23.830 --> 00:35:26.860 align:middle line:84% And that history always resonated with me 00:35:26.860 --> 00:35:29.950 align:middle line:90% because you feel that. 00:35:29.950 --> 00:35:33.520 align:middle line:90% 00:35:33.520 --> 00:35:37.270 align:middle line:84% Like I used to work in construction and warehouses, 00:35:37.270 --> 00:35:39.400 align:middle line:84% and when you have certain jobs that 00:35:39.400 --> 00:35:41.500 align:middle line:84% are like that, where you just feel like there's 00:35:41.500 --> 00:35:43.930 align:middle line:84% no acknowledgment of you're a human being, 00:35:43.930 --> 00:35:49.420 align:middle line:84% and the only thing valuable is the labor you produce, 00:35:49.420 --> 00:35:51.850 align:middle line:90% it impacts you. 00:35:51.850 --> 00:35:54.460 align:middle line:90% You feel like a machine. 00:35:54.460 --> 00:36:01.090 align:middle line:84% So I always felt like using that pickup as an index for that 00:36:01.090 --> 00:36:04.420 align:middle line:84% was interesting because to me, I see it 00:36:04.420 --> 00:36:09.460 align:middle line:84% as like a portrait, especially when you're driving behind one 00:36:09.460 --> 00:36:11.040 align:middle line:90% of those pickup trucks. 00:36:11.040 --> 00:36:19.800 align:middle line:84% They're fully decorated with little stickers and things 00:36:19.800 --> 00:36:20.490 align:middle line:90% on the back. 00:36:20.490 --> 00:36:30.990 align:middle line:84% And it's just like a window of the identity of the person 00:36:30.990 --> 00:36:34.920 align:middle line:84% driving it, but then also, the word truck itself 00:36:34.920 --> 00:36:38.355 align:middle line:84% serves as a kind of an aspect of that identity, a window. 00:36:38.355 --> 00:36:41.800 align:middle line:90% 00:36:41.800 --> 00:36:46.170 align:middle line:84% So my intention was to use that as an index 00:36:46.170 --> 00:36:51.540 align:middle line:84% for my critique of modernism and exploring conversations 00:36:51.540 --> 00:36:53.100 align:middle line:84% around the commodification of labor, 00:36:53.100 --> 00:36:56.520 align:middle line:84% and just kind of building that conversation with the pickup 00:36:56.520 --> 00:36:59.250 align:middle line:90% truck. 00:36:59.250 --> 00:37:04.630 align:middle line:90% And yeah, that's pretty much it. 00:37:04.630 --> 00:37:08.100 align:middle line:84% So obviously you put a lot of time 00:37:08.100 --> 00:37:09.660 align:middle line:84% and thought into the compositions 00:37:09.660 --> 00:37:11.628 align:middle line:90% that you're painting. 00:37:11.628 --> 00:37:13.920 align:middle line:84% And I noticed with at least the ones that you've shown, 00:37:13.920 --> 00:37:16.830 align:middle line:84% and some of the ones I've seen on your website-- 00:37:16.830 --> 00:37:18.360 align:middle line:90% your paintings, that is-- 00:37:18.360 --> 00:37:21.960 align:middle line:84% that there's either kind of a cap sometimes, 00:37:21.960 --> 00:37:25.500 align:middle line:84% something that's on the bottom, or even around the edges 00:37:25.500 --> 00:37:30.090 align:middle line:84% where there's a lot of patterning, repetitive colors 00:37:30.090 --> 00:37:31.928 align:middle line:90% and icons and stuff like that. 00:37:31.928 --> 00:37:33.720 align:middle line:84% I was wondering if you have anything to say 00:37:33.720 --> 00:37:36.070 align:middle line:90% about that aspect of your work. 00:37:36.070 --> 00:37:36.570 align:middle line:90% Yeah. 00:37:36.570 --> 00:37:39.000 align:middle line:90% Yeah, definitely. 00:37:39.000 --> 00:37:43.380 align:middle line:84% So again, going back to commercial art. 00:37:43.380 --> 00:37:46.080 align:middle line:84% And there's a gray line here, too, 00:37:46.080 --> 00:37:50.770 align:middle line:84% because depending on what zone you're looking at, 00:37:50.770 --> 00:37:55.860 align:middle line:84% I'm really interested in decorative art that exists 00:37:55.860 --> 00:37:59.390 align:middle line:90% in textiles or architecture. 00:37:59.390 --> 00:38:02.070 align:middle line:84% And often times, when you think of decorative art, 00:38:02.070 --> 00:38:04.700 align:middle line:84% it doesn't serve a function, really. 00:38:04.700 --> 00:38:09.800 align:middle line:84% But when you look at the decorative art in textiles 00:38:09.800 --> 00:38:13.880 align:middle line:84% that exists in Peru, for example, 00:38:13.880 --> 00:38:16.670 align:middle line:84% that's a coded system of meaning. 00:38:16.670 --> 00:38:19.700 align:middle line:84% So it's not only purely decorative. 00:38:19.700 --> 00:38:23.570 align:middle line:84% And even in some of the geometric 00:38:23.570 --> 00:38:26.930 align:middle line:84% patterning that I use in my paintings, 00:38:26.930 --> 00:38:29.870 align:middle line:84% sometimes that's not all purely decorative, either. 00:38:29.870 --> 00:38:42.690 align:middle line:84% I know, for example, in Mesoamerican architecture, 00:38:42.690 --> 00:38:44.370 align:middle line:90% you'll see geometric patterning. 00:38:44.370 --> 00:38:48.660 align:middle line:84% And there's one that looks like a G. 00:38:48.660 --> 00:38:53.940 align:middle line:84% And I learned that in some street gangs, 00:38:53.940 --> 00:38:57.420 align:middle line:84% they've adopted that pattern that's supposed 00:38:57.420 --> 00:39:01.500 align:middle line:90% to symbolize a rank in a gang. 00:39:01.500 --> 00:39:03.990 align:middle line:84% So things like that, I'm very fascinated 00:39:03.990 --> 00:39:06.870 align:middle line:84% about because there's an existing 00:39:06.870 --> 00:39:08.850 align:middle line:90% conversation of decorative art. 00:39:08.850 --> 00:39:16.470 align:middle line:84% But I don't feel like there's a balance of conversation 00:39:16.470 --> 00:39:19.770 align:middle line:84% that it's not purely just decorative. 00:39:19.770 --> 00:39:22.500 align:middle line:84% Sometimes it's serving some type of function. 00:39:22.500 --> 00:39:26.520 align:middle line:84% In my work, it is just decorative. 00:39:26.520 --> 00:39:30.780 align:middle line:84% I'm not really referencing that history or trying to go there. 00:39:30.780 --> 00:39:32.760 align:middle line:84% I'm just really inspired by the beauty of it 00:39:32.760 --> 00:39:37.770 align:middle line:84% and using it as a decorative element to frame the work. 00:39:37.770 --> 00:39:40.440 align:middle line:90% 00:39:40.440 --> 00:39:44.040 align:middle line:84% But I am interested in those conversations. 00:39:44.040 --> 00:39:47.490 align:middle line:84% But they're not central points of my themes 00:39:47.490 --> 00:39:49.090 align:middle line:90% or anything like that. 00:39:49.090 --> 00:39:50.960 align:middle line:90% Yeah. 00:39:50.960 --> 00:39:54.790 align:middle line:84% Can I ask you a question about your color palette 00:39:54.790 --> 00:39:58.360 align:middle line:90% for this series, in particular? 00:39:58.360 --> 00:40:01.690 align:middle line:84% So you mentioned talking about the tension 00:40:01.690 --> 00:40:06.490 align:middle line:84% between the contrasting colors, but specifically, very red. 00:40:06.490 --> 00:40:09.340 align:middle line:90% 00:40:09.340 --> 00:40:11.497 align:middle line:84% Has that long been a particular color palette 00:40:11.497 --> 00:40:12.580 align:middle line:90% that you're interested in? 00:40:12.580 --> 00:40:17.110 align:middle line:84% Or in this series, are you particularly focusing in on-- 00:40:17.110 --> 00:40:21.710 align:middle line:84% it's a bloodlike0-- it's a very specific of color palette. 00:40:21.710 --> 00:40:25.000 align:middle line:84% I was just curious how you choose your palette and stuff 00:40:25.000 --> 00:40:26.350 align:middle line:90% like that. 00:40:26.350 --> 00:40:33.700 align:middle line:84% So I'm really into working with monochromatic aesthetic 00:40:33.700 --> 00:40:35.080 align:middle line:90% or color scheme. 00:40:35.080 --> 00:40:40.340 align:middle line:84% And so for each individual work that I work on, 00:40:40.340 --> 00:40:41.840 align:middle line:84% that's something that I think about. 00:40:41.840 --> 00:40:46.420 align:middle line:84% But recently I've been thinking about the aesthetic 00:40:46.420 --> 00:40:48.730 align:middle line:90% of an entire body of work. 00:40:48.730 --> 00:40:54.430 align:middle line:84% And so for example, my recent solo show at the Pit, 00:40:54.430 --> 00:40:57.670 align:middle line:84% after I looked at the whole body of work, 00:40:57.670 --> 00:41:01.000 align:middle line:84% it didn't really seem so monochromatic anymore 00:41:01.000 --> 00:41:03.310 align:middle line:84% because one painting would be blue, 00:41:03.310 --> 00:41:06.880 align:middle line:84% one painting would be red, one painting would be-- 00:41:06.880 --> 00:41:12.010 align:middle line:84% so also, too, I felt like it would 00:41:12.010 --> 00:41:15.550 align:middle line:84% be interesting to go off of that based on the theme 00:41:15.550 --> 00:41:17.150 align:middle line:90% that I'm focusing on. 00:41:17.150 --> 00:41:20.880 align:middle line:84% So that first painting that I showed you 00:41:20.880 --> 00:41:23.760 align:middle line:84% guys, Madre, kind of dictated what color I 00:41:23.760 --> 00:41:25.950 align:middle line:84% was going to continue with since that 00:41:25.950 --> 00:41:27.630 align:middle line:84% was the focal point of the series. 00:41:27.630 --> 00:41:31.590 align:middle line:84% I was like, OK, that was the focal point of the series, 00:41:31.590 --> 00:41:33.450 align:middle line:84% so I'm going to continue with red. 00:41:33.450 --> 00:41:37.055 align:middle line:84% And then maybe later, when I continue 00:41:37.055 --> 00:41:38.430 align:middle line:84% in the chronology of my interest, 00:41:38.430 --> 00:41:41.400 align:middle line:84% when I go reach up to the modernist period 00:41:41.400 --> 00:41:45.210 align:middle line:84% and looking at labor and all of that, 00:41:45.210 --> 00:41:47.760 align:middle line:90% that will be a different color. 00:41:47.760 --> 00:41:50.280 align:middle line:84% And so that's kind of like the way 00:41:50.280 --> 00:41:53.130 align:middle line:90% I'm designing it in my mind. 00:41:53.130 --> 00:41:56.340 align:middle line:84% But other things that have inspired me 00:41:56.340 --> 00:42:05.760 align:middle line:84% around that, definitely the silk screening posters 00:42:05.760 --> 00:42:07.650 align:middle line:84% from Victor Moscoso, a lot of them 00:42:07.650 --> 00:42:10.440 align:middle line:90% were monochromatic in that way. 00:42:10.440 --> 00:42:17.940 align:middle line:84% But also, do you know these San Marcos blankets? 00:42:17.940 --> 00:42:19.930 align:middle line:90% They're like Mexican blankets. 00:42:19.930 --> 00:42:28.270 align:middle line:84% They have animals or plants, and usually it's all one color. 00:42:28.270 --> 00:42:30.550 align:middle line:84% I don't know if you've known or seen those, 00:42:30.550 --> 00:42:38.020 align:middle line:84% but that has inspired me, too, like just aesthetically, what 00:42:38.020 --> 00:42:38.720 align:middle line:90% that looks like. 00:42:38.720 --> 00:42:40.750 align:middle line:84% I've always been kind of drawn to that. 00:42:40.750 --> 00:42:43.300 align:middle line:90% Yeah. 00:42:43.300 --> 00:42:45.670 align:middle line:84% Jaime, you mentioned a few artists who inspire you. 00:42:45.670 --> 00:42:48.580 align:middle line:84% I'm curious if you could tell us who 00:42:48.580 --> 00:42:52.330 align:middle line:84% else you're interested in today, and maybe some artists 00:42:52.330 --> 00:42:53.920 align:middle line:90% you'd like to amplify. 00:42:53.920 --> 00:42:56.170 align:middle line:90% Yeah. 00:42:56.170 --> 00:42:59.185 align:middle line:84% Contemporary artists that really inspire me today. 00:42:59.185 --> 00:43:01.760 align:middle line:90% 00:43:01.760 --> 00:43:08.390 align:middle line:84% Definitely Rafa Esparza, who's a performance artist. 00:43:08.390 --> 00:43:13.280 align:middle line:84% He's been a big inspiration in terms of similar themes 00:43:13.280 --> 00:43:14.180 align:middle line:90% that he's exploring. 00:43:14.180 --> 00:43:16.850 align:middle line:90% 00:43:16.850 --> 00:43:20.000 align:middle line:84% Technically, another artist that is a big inspiration 00:43:20.000 --> 00:43:20.840 align:middle line:90% is Mario Ayala. 00:43:20.840 --> 00:43:24.050 align:middle line:90% 00:43:24.050 --> 00:43:26.270 align:middle line:84% He also works with airbrush, but he's 00:43:26.270 --> 00:43:29.270 align:middle line:90% like a master airbrush painter. 00:43:29.270 --> 00:43:31.880 align:middle line:90% And I also work with airbrush. 00:43:31.880 --> 00:43:36.910 align:middle line:90% He's a big inspiration. 00:43:36.910 --> 00:43:39.120 align:middle line:90% Who else? 00:43:39.120 --> 00:43:42.000 align:middle line:90% I mentioned Victor Moscoso. 00:43:42.000 --> 00:43:49.020 align:middle line:84% I've also been really inspired by this Japanese commercial 00:43:49.020 --> 00:43:50.380 align:middle line:90% artist. 00:43:50.380 --> 00:43:54.450 align:middle line:90% His name is Tadanori Yokoo. 00:43:54.450 --> 00:43:56.130 align:middle line:84% I think I'm pronouncing his name right. 00:43:56.130 --> 00:43:58.920 align:middle line:90% 00:43:58.920 --> 00:44:02.610 align:middle line:84% He's been a big inspiration, too. 00:44:02.610 --> 00:44:05.010 align:middle line:84% And then again, just like looking 00:44:05.010 --> 00:44:09.090 align:middle line:84% at a lot of Latin American colonial art. 00:44:09.090 --> 00:44:10.860 align:middle line:90% That's inspiring, too. 00:44:10.860 --> 00:44:16.870 align:middle line:90% 00:44:16.870 --> 00:44:19.060 align:middle line:84% So Neil asks, how is your aunt received 00:44:19.060 --> 00:44:22.710 align:middle line:90% in Latin America and Europe? 00:44:22.710 --> 00:44:30.466 align:middle line:84% Well, so the work 529 Years, the image of Christ 00:44:30.466 --> 00:44:34.620 align:middle line:84% with the thorns, and Popo and Itza. 00:44:34.620 --> 00:44:37.480 align:middle line:84% That was shown in Madrid, in Spain. 00:44:37.480 --> 00:44:43.360 align:middle line:84% And I'm not sure what the critical discourse of that work 00:44:43.360 --> 00:44:45.910 align:middle line:90% was because I wasn't there. 00:44:45.910 --> 00:44:49.520 align:middle line:90% But I know it was received well. 00:44:49.520 --> 00:45:00.380 align:middle line:84% But I'm curious to know what critics or people who 00:45:00.380 --> 00:45:05.170 align:middle line:84% contribute to the canon of art would say, 00:45:05.170 --> 00:45:11.260 align:middle line:84% since I'm specifically speaking of history in those zones. 00:45:11.260 --> 00:45:12.310 align:middle line:90% But I'm not sure. 00:45:12.310 --> 00:45:14.110 align:middle line:90% I'm not sure how it's received. 00:45:14.110 --> 00:45:24.000 align:middle line:84% I haven't read anything or heard of any response on any 00:45:24.000 --> 00:45:25.860 align:middle line:90% of my work from out there. 00:45:25.860 --> 00:45:29.110 align:middle line:84% I'm just barely starting to show internationally. 00:45:29.110 --> 00:45:33.360 align:middle line:84% So maybe next year I'll have a better idea 00:45:33.360 --> 00:45:38.110 align:middle line:84% of how people are receiving my work out there. 00:45:38.110 --> 00:45:40.990 align:middle line:90% Yeah. 00:45:40.990 --> 00:45:43.750 align:middle line:84% I have a question that kind of bounces off one 00:45:43.750 --> 00:45:46.180 align:middle line:90% of Rebecca's earlier questions. 00:45:46.180 --> 00:45:50.590 align:middle line:84% And it's aside from artists that you enjoy and you look at, 00:45:50.590 --> 00:45:55.480 align:middle line:84% is there any media that you're consuming right now that you 00:45:55.480 --> 00:45:57.310 align:middle line:84% could of like be like, this is really 00:45:57.310 --> 00:45:59.200 align:middle line:90% kind of moving my art forward? 00:45:59.200 --> 00:46:04.670 align:middle line:84% Is it just television, books, any of that kind of stuff? 00:46:04.670 --> 00:46:10.160 align:middle line:90% 00:46:10.160 --> 00:46:12.740 align:middle line:84% It's hard to say because I have a tendency 00:46:12.740 --> 00:46:14.750 align:middle line:90% to jump around a lot of books. 00:46:14.750 --> 00:46:19.910 align:middle line:90% 00:46:19.910 --> 00:46:21.470 align:middle line:90% I'll say two. 00:46:21.470 --> 00:46:25.310 align:middle line:84% One of them is a catalog from LACMA, 00:46:25.310 --> 00:46:27.620 align:middle line:84% and it was an exhibition that they 00:46:27.620 --> 00:46:30.840 align:middle line:84% had on Mesoamerican art in the '70s. 00:46:30.840 --> 00:46:32.820 align:middle line:84% And it's a really nice catalog that 00:46:32.820 --> 00:46:37.320 align:middle line:84% has really beautiful images and really thorough explanations 00:46:37.320 --> 00:46:40.080 align:middle line:90% of each image-- 00:46:40.080 --> 00:46:42.370 align:middle line:84% well, not the images of the artifacts. 00:46:42.370 --> 00:46:49.170 align:middle line:84% That's one that I've continuously been sourcing. 00:46:49.170 --> 00:46:54.570 align:middle line:84% And then also, too, another catalog, also from LACMA. 00:46:54.570 --> 00:46:56.910 align:middle line:84% It was the Painted in Mexico exhibit. 00:46:56.910 --> 00:47:02.220 align:middle line:84% It was a show on Latin American colonial art. 00:47:02.220 --> 00:47:09.770 align:middle line:84% So those two books have been kind of on my work bench, 00:47:09.770 --> 00:47:12.000 align:middle line:84% and I've been looking at that a lot. 00:47:12.000 --> 00:47:13.300 align:middle line:90% Yeah. 00:47:13.300 --> 00:47:17.010 align:middle line:84% Jaime, I know we're nearing the end of our time together. 00:47:17.010 --> 00:47:19.640 align:middle line:84% So I really want to thank you for your generosity. 00:47:19.640 --> 00:47:21.680 align:middle line:84% We're grateful to have you back at Chaffey 00:47:21.680 --> 00:47:23.680 align:middle line:90% and spend some time with you. 00:47:23.680 --> 00:47:26.840 align:middle line:84% I also thank everyone who attended today and carved out 00:47:26.840 --> 00:47:29.850 align:middle line:84% a little space in their calendar to hang out with us. 00:47:29.850 --> 00:47:31.280 align:middle line:90% We appreciate you. 00:47:31.280 --> 00:47:35.540 align:middle line:84% And Roman will put in the chat link to a very short survey. 00:47:35.540 --> 00:47:37.610 align:middle line:84% We'd appreciate two minutes of your time. 00:47:37.610 --> 00:47:40.100 align:middle line:84% If you wouldn't mind completing that, 00:47:40.100 --> 00:47:42.080 align:middle line:90% we'd greatly appreciate it. 00:47:42.080 --> 00:47:45.380 align:middle line:84% Huge thanks to you all, particularly you, Jaime. 00:47:45.380 --> 00:47:47.210 align:middle line:90% Wonderful to see you. 00:47:47.210 --> 00:47:48.390 align:middle line:90% Well, thank you guys. 00:47:48.390 --> 00:47:50.940 align:middle line:90% I really appreciate it. 00:47:50.940 --> 00:47:51.960 align:middle line:90% Great. 00:47:51.960 --> 00:47:53.620 align:middle line:84% We can't wait to see what comes next. 00:47:53.620 --> 00:47:54.700 align:middle line:90% So thanks again. 00:47:54.700 --> 00:47:57.210 align:middle line:84% And everyone, please take good care. 00:47:57.210 --> 00:47:59.450 align:middle line:90% All right, likewise. 00:47:59.450 --> 00:48:01.160 align:middle line:90% See you. 00:48:01.160 --> 00:48:11.000 align:middle line:90%