The MexiCal Biennial presents: CALAFIA (el fin del parai­so) / Final Round

“Know then, that due east of the Indies there is an island called California, very near to the locale called the Terrestrial Paradise. It was populated by Black Indigenous women, without men among them. They possessed strong and firm bodies of ardent courage and great strength. Their island was the strongest in all the world, with steep cliffs and rocky shores. Their arms were decorated with gold, as were the harnesses of the wild beasts they tamed and rode.” Garci Rodri­guez de Montalvo, Las Sergas de Esplandián

Thus began the creative narration for Mexicali Biennial’s 2 year project called CALAFIA: Manifesting the Terrestrial Paradise. Raul Baltazar and Victoria Delgadillo’s film collaboration for this exhibit with the title of Calafia was called dystopian in the press and at the University of Paris a student asked, “Is it ok to laugh while watching this film?”

In the end, the Mexicali Biennial closed the 2 years of programming and exhibits with echos between Calexico, California and Mexicali, Baja California. There, among the historical exhibits of bones and time elapsed graphs at the Institute for Cultural Research Museum in Mexicali, was an installation of all the props and costumes used in the filming of Calafia.  The Cultural Research Institute’s Director was elated.

Below are the border event offerings and locations during the closing of CALAFIA: Manifesting the Terrestrial Paradise in Calexico and Mexicali

Friday, January 17, 2020
Steppling Art Gallery, SDSU, Imperial Valley Campus
CALAFIA: Manifesting the Terrestrial Paradise. Visual Arts exhibition

Friday, January 17, 2020
Planta Libre Galería Experimental
Mexicali, Baja California MX
Films screenings, followed by Q&A

Saturday, January 18, 2020
Institute for Cultural Research Museum (IIC Museo)
Mexicali, Baja California MX
Installation and film screening of Calafia by Victoria Delgadillo and Raul P. Baltazar
Runs through February 2, 2020

Saturday, January 18, 2020
Workshop: “My face hurts from being so white”
A metaphorical intervention process of internal and external whiteness using colored t-shirts

Saturday, January 18, 2020
Tianguis del Caballito, I21 Art Space. Local I21
Mexicali, Baja California MX
A site specific solo project to connect diverse Mexicali audiences to multidisciplinary art practices.

Sunday, January 19, 2020
In front of Toyota Car Dealership, Calzada Cetys
Mexicali, Baja California MX
A billboard project

Sunday, January 19, 2020
A border fence performance
Calexico Side: Parking lot at 426 E. 1st St, Calexico, CA
Mexicali Side: Heroes de Chapultepec Park Avenida Madero, Mexicali, B.C.

Images: Courtesy of the MexiCali Biennial and the artists.

Library of Congress

In 2007, Georgia Fee and Catherine Ruggles launched what would become a twelve-year commitment to emerging artists, arts writers, and critics. Beginning in LA as a network for local artists, ArtSlant Magazine ultimately expanded to fifteen cities and countries around the world, bringing on board fresh writers, editors, and artists to critique, unpack, reflect on, and generally chronicle art and its engagement with contemporary culture. For nine years, ArtSlant also awarded the ArtSlant Prize, celebrating outstanding work from emerging artists. From 2013 to 2018, ArtSlant hosted a Residency for artists and writers in Paris, founded in honor of Georgia Fee following her passing in 2012.

Georgia Fee helped to advance many with her resources, building open pathways to success in an industry that can be hard to break into. ArtSlant Prize winners had their work evaluated by respected gallerists and curators, and exhibited at art fairs in Miami and New York City. Many have gone on to have major gallery representation and exhibit their artwork widely. Likewise, countless writers cut their teeth in this small company to go on to edit and write for mainstream arts publications, a trajectory that made her very proud.

Archive and legacy

Now the good news! ArtSlant will live on as a resource in the digital archives of the Library of Congress

Library of Congress

The Library of Congress welcomes ArtSlant as important part of [its web archive] collection and the historical record. Initially, the ArtSlant archive will be available to researchers at Library facilities and by special arrangement. After one year, the Library may also make the collection available more broadly by hosting it on its public access website. Learn more about the Library’s Web Archiving program goals here , this is where ArtSlant’s digital archive is stored click here and check out the other numerous web archives

Victoria Delgadillo

Victoria joined the ArtSlant project in 2008, where she maintained a profile page for 10 years. Below are her 34 art images (prints, film stills, multi-media paintings, digital posters, experimental material work, performance concept images, non-traditional sculptures, etching, pen & ink, photos, community project interventions, stickers) that will be inducted into the Library of Congress web digital archive in 2019.

Panuelos Rosas

(Arriba) Foto de la V-Day Protesta en Ciudad Juarez, 2004, con el proyecto Panuelos Rosas de Rigo Maldonado y Shakina Nayfack. Los panuelos que totalizaron 370 representan las mujeres desaparecidas en Chihuahua, Mexico en 2004. Estas desaparecidas son relacionadas con mas de 10 anos de femicidios en el norte de Mexico con impunidad.

(Arriba) El video Arena y Sangre, 2004 fue filmada por Rigo Maldonado durante la semana de la protesta de V-Day en Ciudad Juarez. En el video, Shakina Nayfack realiza un baile Butoh en El Lote Bravo, Ciudad Juarez. Los panelos rosas, que fueron sostenidos por los marchanistas de la protesta, se convirtieron en parte de este performance acerca de espacio y cuerpo. La pista de sonido en la peli­cula son los marchantes gritando “Ni Una Mas.”

Al sur de Ciudad Juarez, cerca del Aeropuerto Internacional de Juarez, El Lote Bravo fue un cementerio con el  proposito especi­fico de botar las victimas de las guerras de drogas. Esta zanja de irrigacion es tambien el lugar donde los cadaveres de 8 mujeres asesinadas y mutiladas fueron descubiertas en 2001. Los asesinatos se conocieron como “los feminicidas del campo algodonero” de Ciudad Juarez.

Shakina J. Nayfack, Ph.D. Escribio en 2009: “. . . Butoh Ritual Mexicano remodela y reconstituye el sitio de su ensenanza y los cuerpos de sus estudiantes, estas transformaciones confrontan y complican la realidad del imperialismo y el capitalismo global a nivel corporal y social, a la misma ves, puede ser que esta forma de danza obtiene un modo alternativo de supervivencia y renovacion.”

(Arriba) Despues del V-Day, los panuelos rosas fueron utilizados como parte de varios talleres sobre los Femicidios en Juarez, dirigidos por Rigo Maldonado y Victoria Delgadillo. Materiales e imagenes de las mujeres de Juarez (recopiladas por Rigo y Victoria) fueron entregadas a los participantes de los talleres para crear arte de protesta. El arte es una manera fuerte para discutir y elaborar estrategias para problemas sociales que son dificiles.

En 2010 Victoria Delgadillo co-organizo  un mes de eventos internacionales de activismo arti­sticos sobre el tema de los feminicidios.  Los eventos tomaron lugar en Barcelona, Buenos Aires, Fort Worth, Quebec, Ciudad de Mexico, Nueva York, Sydney, Los Angeles y Albuquerque con la colaboradora de cineasta / poeta Pilar Rodríguez Aranda que estaba en DF y por la comunicacion exclusivamente a traves de Internet.

(Arriba) El proyecto de los panuelos rosas se movio al DF en 2010 con Pilar Rodriguez Aranda, quien organizo varios meses de eventos sobre los feminicidios en Mexico.  Logro que suficiente miembros de la comunidad local hicieran instalaciones de arte publicos como una forma de protesta y usando el modelo de Rigo Maldonado y Victoria Delgadillo.

Bordamos Por la Paz, despues de haber visto el proyecto de los panuelos rosas en Mexico, iniciaron un circulo de costura de protesta en lugares publicos en todo Mexico (ahora en expansion por todo el mundo). Los asistentes discuten la violencia en sus comunidades y hacen declaraciones bordadas sobre ella para crear una exhibicion esontaneos en parques y cafes.

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V-Day Protest in Ciudad Juarez, 2004

V-Day Protest in Ciudad Juarez, 2004. Photo of Pink Square project by Rigo Maldonado and Shakina Nayfack. The Squares which totaled 370 representing the women who had disappeared in Chihuahua, Mexico at that time, were related to over 10 years of femicides in southern Mexico with impunity.

(Above) Arena y Sangre, 2004 was filmed by Rigo Maldonado & Shakina Nayfack on the weekend of the V-Day protest.  In the film, Shakina Nayfack performs a Butoh Dance in El Lote Bravo, Ciudad Juarez. The pink squares held by V-Day protesters became part of this space/body healing performance. The soundtrack is of the V-Day protesters yelling “Ni Una Mas,” (Not One More).

Just south of Ciudad Juarez, near Juarez’ International Airport, El Lote Bravo, was an ad-hoc cemetery for victims in the area’s lethal drug wars. This desert irrigation ditch is also the place where the bodies of 8 murdered and mutilated women were discovered in 2001. The murders became known as “the cotton field murders” of Ciudad Juarez.

Shakina J. Nayfack, Ph.D. wrote in 2009: “. . . Butoh Ritual Mexicano reshapes and reconstitutes the site of its teaching and the bodies of its students, how these transformations confront and complicate the reality of US imperialism and global capitalism on a bodily and societal level, and what, if anything, can be gained from this dance form as an alternate mode of survival and renewal.”

 After V-Day the pink squares were used as part of various Juarez Femicide workshops led by Rigo Maldonado and Victoria Delgadillo in 2004 and after. Materials and images of the women of Juarez (collected by Rigo and Victoria) were provided to participants to create protest art. Art is an excellent way to discuss and strategize for difficult social issues.

In 2010, Victoria Delgadillo co-organized an international month of femicide art activism events in Barcelona, Buenos Aires, Fort Worth, Quebec, Mexico City, New York, Sydney, Los Angeles, and Albuquerque with collaborator, filmmaker/poet Pilar Rodriguez Aranda in Mexico City and by solely communicating via the internet.

The pink square project moved to Mexico City in 2010 with Pilar Rodriguez Aranda, who organized several months of femicide art activism events in Mexico, encouraged many to create public art installations as a form of protest by using the model from the US.

(Below) Bordamos Por la Paz (We Embroider for Peace) having seen the pink square project in Mexico, began a protest sewing circle in public places throughout Mexico (now expanding all over the world). The attendees discuss violence in their communities and make embroidered statements about it to create a protest display.

ChIFF, Chicano International Film Festival 2016

On Saturday, September 10, 2016 the Chicano International Film Festival (ChIFF) took place at Plaza de la Raza, 3540 N. Mission Road, Los Angeles, CA  90031.  The day long film festival begin with live music, an art exhibit in the boat house, food and drink, various panel discussions on historical and contemporary Chicano filmmaking and a red carpet ceremony.

On Sunday, September 11, 2016 ChIFF moved to the Arclight Hollywood Theater, 6360 W. Sunset Blvd, Los Angeles, CA 90028 for a special screening of feature film, “The Other Barrio.” This special screening is followed by Q&A with the filmmakers, a ChIFF Awards presentation, live music and a VIP reception.

Two fictitious film posters with a “films I wish I could have made” theme created by Victoria Delgadillo for the exhibit are  “Kung Fu Raza,” a Mexploitation style theme on good vs evil. “Dame Dolores,” a movie poster on the loves of Golden Age of Mexican Cinema star Dolores del Rio.

My 2nd piece in this exhibit "Kung Foo Raza"

"Dame Dolores" is my piece for this exhibit

“The Space” Regeneracion

An historical overview of Regeneracion art space (1992ish -2000) was presented for the Getty initiative Pacific Standard Time at The San Diego Museum (May 2, 2015).  Attendees commented on the interesting history of this collective and their international work in social justice–how exciting it was to hear of events of such scale occurring in a seemingly quiet area of Los Angeles.

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“Caught Between a Whore and an Angel” the first women’s exhibit at Regeneracion was produced by Patricia Valencia, Aida Salazar, Elizabeth Delgadillo Merfeld and Victoria Delgadillo in 1996. The idea to have a women’s show at Regeneracion was Patricia Valencia’s — inspired by Sub-comandande Ramona, Cecilia Rodriguez and the other Zapatista women in Chiapas coming to the forefront in leadership.

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The show’s concept of living art as opposed to the usual paintings hung on the wall, complimented “In the Red,” (the first men’s performance exhibit at Regeneracion)–which was the idea of Elizabeth Delgadillo Merfeld.  Elizabeth also created the publicity image from a backdrop Patricia Valencia and Victoria Delgadillo painted on red cloth, using a photo projected image of a 1910 Zapatista soldada.  Aida Salazar was the brilliant show organizer/producer.  As an community organizer, Victoria Delgadillo established written and verbal communication updates with the participating artists, helping them to problem solve administrative matters, as well as persuaded everyone to include men in the show. Sometimes the whole family needs to come together, just as we women had helped with In the Red. There was a tremendous amount of work to put this show together, using our only resource: a network of friends.

Later, Claudia Mercado and Felicia Montes, the founders of Mujeres de Maiz noted that “Caught Between a Whore and an Angel,” inspired the inception of Las Mujeres de Maiz.  Its interesting to see how art can grow and inspire great things.  Regeneracion had many participants and many stories of art, music, words and resistance. This is just one of them.

“The body of a woman is also a battleground ” -Cecilia Rodriquez, EZLN (1995)

 

(below) The Mexican Spitfires (Elizabeth Delgadillo Merfeld, Patricia Valencia & Victoria Delgadillo) created “La Moda” as their offering for the Caught Between a Whore and an Angel exhibit. It stars Marco Trejo aka DJ Yaqui (†), Patricia Valencia and Elizabeth Delgadillo Merfeld. Victoria Delgadillo filmed in the Direct Cinema genre style which took 1 hour. The script was spontaneously decided by the group during costume changes. After filming, it took Victoria 3 hours to create the synchronized sound track using her personal record collection and transcribing them onto a cassette tape. This film was created with a hand held video recorder shot in sequence (no edits) and a separate cassette tape for the sound. Artists Alma Lopez transferred the Video into a digitized MP4, later Martin Sorrondeguy & Rigo Maldonado added the cassette soundtrack to the digitized film.

View La Moda

Read more about La Moda

Scotch Tape Cinema

One afternoon in July of 2015 I took a studio class at the Echo Park Film Center on experimental film making.  This is a very interesting technique on making looping films and looping sound tracks with no camera.

Basically, the film: is a transparent lead of 16mm film about 6 feet long with the beginning and the end taped together to create a loop. The images are magazine clippings (soaked in warm water to detach the pulp, leaving transparent images). The transparent images are adhered to the film lead by sandwiching the clippings between a 1/2 inch wide piece of transparent scotch tape to the film.

The sound: is an old music cassette tape made into a loop by opening the case and cutting out a piece big enough to make one circulation through the “play” process and scotch taping the beginning to the end to create a loop. The rest of the tape is taken out and the case is re-closed. Note that this can only be done on music cassette tapes that are sealed with tiny screws.

The above experimental film was created by Margie Schnibbe, Ariel Teal, Anna Ayeroff, and Victoria Delgadillo. The Scotch Tape Cinema and Sound class was taught by Mike Stoltz. He also digitized and edited the final version.

My film is the last section with the sound track of “Depeche Mode” on a loop. Enjoy! 

Below is another experimental film I made at EPFC (May 2016)–all on computer–“Vortex.” I can’t remember the process though. That IS my hand manipulating something. Now that I am looking at this it seems to me that the circle is the computer camera lense/eye, and I am touching the computer screen to get the waves. There must be a computer mirror setting to get those atmospheric views, as you record from the computer at the same time.  Well, remember that old age is not a factor on my memory, I tend to forget things I won’t use anymore. I’m just jaded.

Photos

I recently got my Nikon digital camera fixed.  I am so happy, because (for over a year) I have had to use other cameras for taking pictures. The camera repairman said I should never try any settings outlined in the Nikon manual. Funny!

Taken with my Samsung telephone

The Annual Holiday Hustle 2013 in Boyle Heights.  Above: taken with my Samsung telephone camera

My hand while I drive home.

My hand while I drive home 2014. Above: taken with my Samsung telephone camera using my right hand.

Chain link fence in Boyle Heights.

Chain link fence in Boyle Heights 2014. Above: taken with a borrowed and very basic Kodak.

Waiting for Vickie Vertiz in Aix Provence 2013

Waiting for Vickie Vertiz in Aix Provence 2013.  Above: taken with a Canon Elura digital video camera.

My companion Frankie, who is always sleeping.

My companion Frankie (†) who is always sleeping 2014. Above: taken with my readjusted Nikon!

My living room, my work shop.

My living room, my work shop 2014. Above: taken with my Nikon.

Why only one brand at Target?

Why only one brand at Target? Above: taken with my Samsung telephone camera 2014.

Rehab/Downsize

Part of downsizing my work, expenses, possessions –entire life was finding a small home and rehabbing it. My 850 square foot home in Boyle Heights got a paint job this month! I have been working on my casita project since 2005, its been slow, but transformative for the whole neighborhood. Some exterior shots:

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Photograph: Richard Armas

 Through an introduction by a close UCSD friend,  I became part of the Richard Armas’ photography studio clique in San Diego (1973-ish).  Ricky (to everyone) was a very methodical photographer who had at one time been the booking clerk and composite photographer at the San Diego Police Department. Although never revealed formally, connecting the dots that his father (the Sheriff of Downey) had facilitated such an interesting civil servant job for his son, was obvious to his friends. The fact that Ricky was somewhat secretly gay at the Police Department, gave him an interesting insight to the cruelty police perpetrated towards the LGBTQ community. He related these work stories with a matter-of-fact attitude, a loud scripted HA HAAAAAA somewhere in between, followed by a head nod of pity.

Even though he did not look obviously gay or Mexican, he lived an open life with a nonchalant air of always being on the right side of the law.  Speaking middle class Downey, California English, Ricky related culturally as an American, however, he was drawn to all things Mexican, which could be noted in the make-up of most of his friends, his lover and his diet.

Upon making the big move to Los Angeles, because ‘its where the industry and opportunities are!,”  Ricky converted a large commercial space on Hudson and Santa Monica Boulevard into his living and work studio. I followed my pied piper friend to LA too. His space was the first loft style living situation I had seen in person.  He worked weeks on sanding the floors, creating separate living/work spaces, a kitchenette and a full bathroom out of an old storage warehouse with a freight elevator.  Now his old loft lies in small theater district, a colander for the Hollywood overflow. Here is where Ricky created his full time photo studio, along with many LGBTQ entrepreneurs –a sort of Castro Street in Los Angeles, that morphed into West Hollywood, then into WeHo (pun intended).

One thing that tied us as friends was our love of Rhythm and Blues (R&B) music.  Living in LA gives the unique opportunity of attending music showcases in bars, little theaters and public places where musicians are on a descend or ascend.  Totally star-struck, Ricky loved to pass his business card onto R&B musicians after a set, beckoning them to sit for a photo in his studio.  His love of this music and these artists reflected in the work he produced in those years.  Pulling out all his skills and associates to recreate a poorly represented climbing/falling idol for a few pennies, seemed to bring him so much joy.

His “for profit” work consisted mainly of studio fashion product shots, that used models, hair stylists and make-up artists.  From these years of close friendship with Richard, I learned the process of starting a professional photography studio, marketing, networking–which enhanced my knowledge of the other side of photography and film as a job. Eventually, I lost interest in commercial art and sought artistic camaraderie in East Los Angeles. I hungered for art work that had political substance, that spoke to my culture and was spiritual.  In retrospect, I know that I was also affected (at that time) by the overwhelming number of deaths from AIDS in my circle of friends and my inability to cope with such helplessness.   When I left the Richard Armas circle (early 1980s),  I never saw him again.

Ricky Armas’ selfie

Gilberto Torres from Tijuana lived with Ricky for  37 years as his life partner and business representative.  He made the move to Los Angeles and toiled along side with Ricky to make their business work. In the last 30 years together, Gilberto styled Julie Newmar, Carmen Electra, Madeline Stowe, Eric Estrada, Shannon Doherty, Matt Cedeño, Barbara Carrera, Laura Harring and Constance Marie for photographs and magazine covers that were used in Play Girl, Vogue (Mexico), Women’s Wear Daily, Passion Magazine and the Advocate.   Gilberto is to this day an HIV community activist in San Diego and Palm Springs.  Ricky (Richard) Armas died in April 24, 2009.  He was 58.

Textile Stories in Print

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Tradition by Rocky Ormsby-Olivares

I curated a print series, Communication Threads & Entwined Recollections, that will be unveiled on Sunday, June 30th at the studios of Self Help Graphics & Art an internationally prominent producer of fine-art, silk screen prints.

The series is based on a concept of creating personal stories about textiles from artists who use fiber in their own disciplines. It was at once an appealing idea to me as the curator and a challenging one for the artists to create the flavor of fiber art in 2 dimensions. Drawing from a grand textile history of basket weaving to catalytic cloth with built-in computer chips, the artists thoughtfully embraced the challenge of creating their own unique perspectives on a 22X30 inch print.

This print suite of 10 artists is comprised of 2 knit bombers, 2 filmmakers, 1 graphic designer, 1 performance artist, 1 costume designer, 1 fiber artist, 1 vintage cloth re-purpose artist and 1 mixed media installation artist. This  complete suite of prints will be added to the Los Angeles County Museum of Art (LACMA) print collection in 2013.

Hop on the Goldline metro, exit at the Pico-Aliso station (1 stop after Little Tokyo)—Self Help Graphics & Art is right in front of this stop. The open studio Print Fair is from 12pm to 5pm. View these prints, meet the artists, see other prints in this astounding studio, attend a panel discussion at 2pm on the series and learn about the print process through demonstrations.

Sub/Culture

Still from “LA Woman” 2011

Sub/Culture are video works exploring the heterogeneity of Los Angeles and the complex mix of personal, social, historical, and geographic variables that both divide and connect us. To be an Angelino is to be a part of one or more subcultures, which alternately blend and clash in compelling ways demonstrated by the communities and individuals depicted in these works.” – Freewaves

Freewaves is a library of art films, whose mission is also to promote youth filmmaking. I was notified today that my film “LA Woman” will be screened on April 19, 2013 at Occidental College in Eagle Rock, California, along with special student work that was created for the theme of Sub/Culture.

I created “LA Woman” in 2011 as an homage to the billboards, signs and murals seen throughout the city which feature various ideals of what a Los Angeles woman is.  I had pondered for many months, how I would capture the compelling images I saw while driving everyday.

Above in the photo still of my film, I captured a young woman walking by a mural of a brown girl in a brown beret. Obviously this image was created to encourage brown-female pride.  In a saint-like exclamation, the muralist painted roses by the girl’s head. I love when the world provides inspiration and final touches.

I enjoy the fact that my art is paired with the works of new young filmmakers. The thought that my ideas and artistic perspective is something young people can relate to, is an amazing reward in itself.

Bad Girls Leave Home

Heartfelt & Homespun, 2004, Mixed Media

Heartfelt & Homespun, 2004, Mixed Media

There is an association called Mujeres Activas en Letras y Cambios Sociales (Women who are Active in Academia and Social Change) established in 1982, at UC Davis, with the purpose of documenting the contributions of Chicanas and sharing it with other feminists. MALCS sponsors an institute on themes related to academic pursuits and world change. This year the conference takes place in July at The Ohio State University, with the theme this year of Movements, Migrations, Pilgrimages and Belongings.

Our panel discussion: Bad Girls Leave Home: Subverting the Good Girl Aesthetic in Prose, Performance and Art Activism was selected as one of the presenters for the institute! Usually, I am really lame at writing proposals and getting them accepted. I cringe when I press send on these things. That is why I love the collective–there’s power in a group of heads. Even though my words were the opening for our proposal, it goes down better sent and edited by other hands.

The group consists of Maya Chinchilla, Reina Prado, Vickie Vertiz and me. For this panel presentation I am creating a Power Point. I have been attending the University of YouTube recently, getting some techniques and tips on making my presentation interesting.

Although I have presented many times on Art Activism, each version is different. I am still active and evolving in this genre. As a presenter one must be informative and brief. That is difficult, because once a devotee begins speaking about a personal passion, they become transfixed. My greatest fear is awaking from my talk and seeing that the audience is restless and bored.

My Film Making Inspiration

What inspires my art, are those around me. If you look at enough of my work, you will start to realize that many of the models I use are people that I know, mostly friends.  I suppose all artists draw from their surroundings.

Especially, when I look at my body of film work, I realized that I am not creating a film, but more of a moving photograph of my subject.  I don’t try to write a script or make my stars do anything that is foreign to them. I pick my subjects, because I have noticed them doing a certain activity that I find intriguing and then try to capture that same action or gesture on film. My actors are not playing a role, they are being themselves–or a portion of themselves. They are playful, absurd, emotional or sexual—all the emotions that pepper my art.

I draw from the American film industry way of creating films, where ‘film star’ personalities are always the same character in any film in which they appear.  There are no surprises when you go see a favorite American film star. You want to be transported by their usual magnetic and truthful screen persona–which is always the same. Great acting is more of an artistic expression–where the actor convinces you that they are someone else. I believe that the ‘film star’ is a more truthful human portrayal than an actor.  No matter how excellent an actor is, they are still acting.

That is why I look to my friends as a source of inspiration and translate that inspiration into art.  There are times when I laugh loudly and inappropriately, because I notice one of my friends in one of ‘their gesture’ modes and I am delighted. I am always conscious of the roles we all play in the stage of real life and often step outside of life-dramas as a viewer, while they are occurring.

I have been asked, “How did you accomplish that?” or “How did you make that person do that?” I explain that the person is being themselves or the “self” that I bring out in them.  I piece together a loose and changeable story line, review it with my stars, create a supportive setting, leave the dialogue up to the stars or direct them to say something while I am filming.

I usually do all my own film shooting and sometimes edit while I am filming, because something occurs to me in the moment or because some perfect lighting or. background change happened. I use inexpensive film equipment to bring an element of ‘snap-shot’ culture to my work. I think super slick color and lighting would throw me off or I’d try figuring out how to make it look less Hollywood.

Silenced

I created this watercolor painting in 1998. I painted it after my bout with a fibroid tumor that made me menstruate 3 out of 4 weeks each month for a few years. I realize this is a very personal topic and one that is not meant for social conversation. However, in art everything goes, whether you purposefully want it to be revealed or if it appears in your work on a subconscious level.

Once one experiences this tumor and goes through the process–which can be a grave matter or (in my case) a routine operation in our times of modern western science–many friends come forward revealing that they also had one. For most women this tumor represents the inability to procreate. Such was the case when I was recuperating in my hospital bed. Nurses and staff members came to give me condolences and to testify about “their operation,” emphasizing that it should not be considered the end of womanhood. Oddly, my artist friends thought as I did, that it was a relief and a somewhat liberating shortcut to the usual body changes.

Before getting the operation, I tried to deal with it holistically through Chinese medicine. For more than a year, I received acupuncture treatments and would feel better, but the tumor was too pronounced.

In spite of not being a great believer in drugs and extreme medical treatments, I do have faith in a combination of nutritional therapy, ancient medicines and modern science. In our lifetime of urban stress, pollution, bioengineered foods and chemical fallouts, healthy alternatives must be actively sought out.

I created this painting with the help of my acupuncturist Arno Yap. Although a professional can see that the needles are placed artistically rather than accurately, it is a blissful painting of a natural balance of the physical body. This painting has been in storage since 1998, because although to me it is a depiction of triumph, it has been rejected by others. I think because it may represent something else to the viewer, something that was not my intent and that I have no control over. I am use to being silenced, finding out (upon arriving to a reception) that, “there just wasn’t enough room” for my art in an exhibit. I am very familiar with the euphemism.

 

 

Take-out Poetry

When the laundromat becomes a stage

There is a series of spontaneous poetry readings happening on the northeast side of LA.  Last night I went to my second installment at a laundromat–it was called Dirty Laundry.  The first reading I went to (this summer) was at a taco shop with The Taco Shop Poets coming in from their various places in California to read and have tacos.  None of the poets last night washed dirty laundry.

Both times I attended, I knew I was going to hear poetry, both times I was surprised by the venue.  In fact, each time I could not figure out the address as I circled the block various times, because I was looking for an art space, not a mom-and-pop business.  After seeing so much art, good and bad, surprises are a treat.

These take-out poetry readings are a gift of Kathy Gallegos, Director of Avenue 50 Gallery and Studios in Highland Park.  Her smile and genteelness welcomes you when she hands you a bookmark printed with the evening’s poetry selections on it.  Great keepsake.

Impromptu poetry reading at the laundromat

As a curator, I am always concerned with the affect of art on an audience.  At the laundromat, like the taco shop, patrons are there to take care of mundane duties, take a break, relax.  As one of the poets said last night, the laundromat is a sacred space, an escape from matters happening at home and a place to think quietly with the impartial hum of machines in the background. I wonder if these poetry invasions cut into the harmony of the environment or if they shake it to a higher level?

Seeing the children scurry under the poets from one side of the room to the other, the loud music score of the Pac-man game start up in a back corner, tipsy men chatting loudly about some bronca, the attendant assisting customers, the poets not skipping a beat–somehow it all worked together.

I looked away from the poets to my right and noticed two elementary school siblings sitting on the bench next to me, quietly listening to words above their age levels.  I smiled remembering my first desvelada when I accompanied my dad to Corona, California to give our elderly tia a surprise mañanitas serenade on her milestone birthday.  I remembered her joy beyond smiles when she came to open her front door in pajamas. Growing up I loved hearing my father play his guitar and my mother sing, it was the home training I received that made me an artist.  I think now, that I would have loved to have heard poetry too, even if I did not understand or expect it.

The Sound of Performance Music

Click here and listen:
HareKrishPies
Jeninche and the Jaguars

Drummer du jour [heart], Maria Azteca [crown], Jeninche [green circle], James Brownie [star]

Drummer du jour [heart], Maria Azteca [crown], Jeninche [green circle], James Brownie [star]

It may seem like a weird thing to say, but those that know me will agree when I state here that I have good taste. Mainly it is limited to artistic matters. I have these strong epiphanies about an art concept, a curation, or music–whose familiarity immediately drives me to do extensive research on the internet. My personal understated art business mode is based on a lifetime of being looked at as a gold mine. When a new acquaintance gives me “that look”, I turn down my ability to spew out ideas and am glad that early on in life I learned to say no. I always felt that limiting myself to just one project or idea would keep me from growing as an artist.

In 2006, artist Rigo Maldonado and I curated a two person exhibit at Voz Alta Performance Space in San Diego. We wanted it to be something fun. He also wanted to exhibit some recent photos he had taken on sploshing. Sploshing is a sexual fetish where the participants smash food on their genitals, or collapse naked into food to reach sexual heights. In the case of Rigo’s photos it was dessert sploshing, so we agreed to exhibit art that related to dessert fetishes and called it Aunt Rita Wants Pie. The title was based on a road trip Rigo took with two women with self-indulgent appetites and their semi-comatose aunt who allegedly needed to stop at every road house for pie, “because she was very hungry”.

In addition to our art pieces on the walls, Rigo said he would perform a PG version (speedo and goggles) of sposhing at the exhibit opening. The storefront space lent itself to a live performance in the display windows, and also had a small stage near the back of the room. As Rigo practiced his sploshing at home, it occurred to me that we should have live music. But what kind of music would support our dessert fetish theme? After slight thought, I knew I was ready for something new. That’s another thing, I get bored quickly. I thought, the music would not have to be from a band with superb musicianship–in fact, the rawer, the better– but the band would have to be genuine and committed to the theme.

My friends Jennifer Araujo, Dewey Tafoya and Becky Cortez are fellow vegetarian foodies, artistic dilettantes, community activists and punk music lovers. Based on friendship, mutual interests, culinary concerns, and a hunch, I presented the exhibit concept to them and pronounced that they would be the band performing at the opening. I called them the HareKrishPies.

They took to the invitation like cocoa powder to hot water. While Dewey and Becky industrially composed original music, Jennifer wrote lyrics for the songs about the angst and preoccupation of weight and the love of food. She would be the designated front person in the band. One song, It’s Cheaper to be Fat, was a declaration of acceptance of the delicious American regime of fat-filled, fast-food diets. Another song about the 99¢ Store, praised their inexpensive offerings of cookies, candies and cakes. Each song had a charming introductory story prefacing it, as Jennifer shyly explained her work process.

Usually very soft spoken, sweet natured and chill, Jennifer’s lyric/poetry writing skills impressed on me that she had always been a secret song writer and charming emcee. Dewey (James Brownie of the HareKrishPies), and his GF, Becky from Texas are  experienced with music.   They rocked the backline, and were the techies and roadies all rolled into one. Becky and Dewey laid down some interesting music and so quickly. At each performance they have conscientiously created an elevator-ride rework of their sound. It requires a special talent to write and arrange music, I attribute that to their love of the craft and the crafters.

A few months after Aunt Rita Wants Pie opened, the group performed at a Mexica New Year festival in East Los Angeles. Armed with the same music and an additional song called The Vulture, they reinvented themselves as Jeniche and the Jaguars.

Outdoors on Chung King Road

In September (2012) with a new drum machine, the group was invited to perform at an exhibit called Narcolandia in Chinatown (Los Angeles). Much more performance-band focused, this time they renamed themselves Conjunto L@s Nac@s  (pronounced nah-kohs–or in this all gender inclusive version nah-ko-ahs ), a Mexican slang word to describe the bad-mannered and poorly educated people of supposedly lower social classes. It is equivalent to those who say ‘white trash’ in American English and culture. Narcolandia had a drug trafficking art theme. Dewey was now James Brown of  Conjunto L@s Nac@s

Bandstand on Chung King Road in front of gallery.

At Narcolandia, the group maintained the same song tunes, but with new lyrics related to the current drug trafficking wars. In Crackhead Stole My Purse, Jennifer’s pen is still humorous when she writes about being a victim of petty theft, because drug addiction has its needs. Teresa Mendoza, is based on a Mexican Telenovela drama that depicts the rise of Teresa Mendoza, a young woman from Mexico who becomes the most powerful drug trafficker in southern Spain. In the song, Conjunto L@s Nac@s beg Teresa to drop the high life of drug carteling and think of all the suffering she is causing in the world.

Fans!

 

Above are two songs from the group in 2006. Recorded in a very utilitarian, un-sophisticated way, Becky tucked them into one of her famous CD compilation of her favorite tunes and gave it to me as a gift. The group is 1000 miles away from their beginning, but the original concept of performing at an art show as a three dimensional live performance is bam there. Unless you know the trio, you may not recognize their sound stylings and definitely, you will not recognize them from their newest adopted band name.

Chung King Road

To get in touch with Becky, Dewey & Jennifer email them at djtafoya@gmail.com

Art Process

September 25, 2012

Here’s how my print process begins. Step 1 -take a picture of what I want to draw.

Bolsa de Mercado

Step 2,  I translate the photo into black & white (using a basic photo editing on computer)—cropping the view to make it interesting.  My friend Leslie Gutierrez took these pictures below for me. She did it with a Nikon, indoors, overhead lighting, no flash.  It’s hard to shoot plastic (as seen in the color version above)–it can have too much shine and blur the details.

Option 1

In Option 1, there is a hint of the bag. In Option 2, you can see the complete bag.

Option 2

Now I can see the vertical and horizontal lines better in the grey-tone version, and can plot out the separations on acetate sheets. I am doing the color separations old school, hand painting the acetates with ink. These days there is a temptation to create the separations on computer. Sure it’s faster, but then the finished print becomes too mechanical, too slick and loses the artist’s personal touch.

I am thinking of color. Not sure if I will use the original bag colors of red, white and green. I like blues and oranges more. We’ll see. Choices, choices and problem solving–that is art.

November 15. Leslie is so clever, I did not have to take another photo, this is actually the red bag version. Les suggested that I photoshop it to change the color and voila I got this look. Love it!  So above is the color scheme I am going for in my print and the final cropping too. I think you can tell what it is, but it is not so obviously figurative–like when you see the whole bag.  I’m going to start my separations next week.

November 17. Met with the Master Printer and talked MORE about color.  I know color only excites a few of us– it’s an art thing. He gave me a sheet of rubylith to cut my background layer. The background (in orange) will be the first pass of color. He suggested that the colors should be printed in this order:  yellow, blue and then the magenta all in transparent inks so that when two colors merge, they will create a third color.  I love transparent paint! Nice to work with someone that does this everyday. Printing in layers is tricky.

Below I adhere the registration targets to the my transparency sheets. The registrations are used to help align each layer.

November 20.  Thanksgiving slowed down my process. The studio was closed for 4 days!  Right before they closed for the holiday, the studio manager said my blown-up poster model was too pixelated.  He said it would be hard to see the lines well enough on the light table to transfer the design onto the separations. Sighhh. It took me forever to get the bad poster versions done too. Staples could not get them right.  It took them a whole day to print it close enough to the size I needed. A waste of $10 and 4 bad posters. Urgh.

November 27. After a nice Thanksgiving weekend with family and friends—I got back to my image. I was frustrated about it from Saturday to this morning (3 days!) Lots of thinking about my plan of attack. I am not sure if this works for everyone, but when I sleep on matters the very next day I have figured out a plan. I woke up at 4:30am this morning and logically figured out what I needed to do. I have always believed that thinking logically can resolve anything in life, because in the world nothing is 100% one way or another.  I am sure it was something I did, not Staples. After searching for the right terminology, I knew how to ask for what I needed help with. I watched a YouTube videos on the subject and got some good tutoring.  I needed to raise the resolution, lock it in and resize the image to what poster dimensions I wanted.  Que pendeja! So simple. The answers are out there! Actually I do not work on graphics that much, I don’t know what buttons to push. Visual tutorials are my best friends. Finally I got my print model sized into a 30 X 22 poster and printed it at Office Depot. Cost $14. Tax deduction for sure. To make it fit into the correct proportions, I had to change the image a bit from Option 1. Ah ha–but now that task is done and I am REALLY ready to hit the light table and create my hand made transparencies. Exciting!

This is my final design model for my print.

December 5. I have put in at least 6 hours on hand inking my separation for magenta and I am not even done (see what I mean in my image below). Everything that will have magenta in it for my print (including orange and purple) require ink blocking.  Below, my photocopied image has a sheet of acetate over it and I am blocking out the magenta areas with my rapidograph pen. I use a small color image for reference, as I count the lines over and over to be sure I am blocking the right areas. I’ve been going into the studio at 6am in the morning, because I am fresher at that time. I rock the jazz station alone and get into an inking meditation. I guess I could have made it as a comic book inker. In truth, I could have drawn the original image myself, it is a simple rectangle. But I wanted it to have the accuracy of realistic woven fabric and accomplishing that is tedious. Inking all that woven fabric was tedious enough. Usually hand drawn silk screen images are less complicated and “complicated” is my middle name–sometimes.

Me, hand inking

December 14. My artist in residency begins! I have been working on my separations non-stop for over a week now.  I had 3 separations completed–but there are always issues to resolve.  Thinking in print is difficult.  When you are inking the separations, what you ink will be the color, not the clear spaces. Darn! Of course, my first separation was wrong! I did it backwards.  I had to scramble to get my first separation ready on the first day. We could lose a day of printing! The color must be laid down in order. The good thing was that we gained a separation for the color blue, which I had not done yet. Yes, the blocked separation I did for the first day was what I needed for the blue color, with a few tweaks–whew. Glad nothing was wasted.

The master printer burnt the screen with a system very much like photo developing. Since it is done in the dark, I could not take a picture. A green photo sensitive liquid is coated on the silk screen, the ink separation is place below the screen on a transparent glass table.  From beneath, a photographer’s light is lit for a designated amount of time–thereby the separation is transferred onto the screen.

Power washing the burnt screen

Power washing the burnt screen

Above the screen is then power washed to remove the areas that were ink blocked. Exposed are the areas where the ink will be pushed through on the paper with a squeegee. The white areas on the screen are open, the green areas are blocked. Note that the image is upside down. This run will be the first color–a peach shade for the background.

Below, the master printer is blocking any areas that may have been exposed in the wash, to make sure there are no pin holes.

Blocking any pin holes

Blocking any pin holes

Then onto the printing. . . . .

Dec 15 Inking the screen

Dec 15 Inking the screen

Dec 15 First print

Dec 15 First print

Dec 15 Pulling out first print

Dec 15 Pulling out first print

Dec 15 First color "peach"

Dec 15 First color “peach”

Dec 15 Seventy more to go

Dec 15 Seventy more to go

Dec 18 (after the weekend) the 2nd color is "blue"

Dec 18 (after the weekend) The 2nd color is “blue”

Dec 19 Third color is "yellow"

Dec 19 Third color is “yellow”

Dec 20 The 4th color is added "magenta"

Dec 20 The 4th color is added “magenta”

Dec 21 Last color is "black", but it is too muddy. Bag looks dirty and dull. Yuk!

Dec 21 Last color is “black”, but it is too muddy. Bag looks dirty and dull. Yuk!

Dark blue final color.  Love it!

Dec 22 Dark blue is REALLY the final color I wanted. Love it!

December 22. Voila! My print is done and just like I wanted. It was loads of work, but so worth it. Could I improve it? Of course, each new subject is an opportunity to learn and each new attempt is an opportunity to  translate your image into something else. I don’t feel my print is an actual copy of the model, it has my artistic flavor through my hands-on drawing/inking, color choices and the elimination of factory woven details.

After the prints are created, the separations and bad prints are destroyed by the studio. Yes! It keeps dumpster divers and thieves from copying and selling the prints. This is true.

My print is a tribute to the working class people that use these recycling bags for everything from grocery shopping to laundry washing. When my friend Becky Cortez saw it –she said “This image reminds me of you!”  Perfect. These types of bags are a reoccurring theme in my art and even though it is a common still life, it is an overlooked powerful icon of our times.

Anarchist Book Fair 2012

The 4th Annual Los Angeles Anarchist Book Festival took place this year at Barnsdall Park (September 8, 2012). For the last 3 years I wanted to attend, but there had been an element of disorganization in the form of no advance publicity or firm location, even poor communication flow which impeded someone like me (an advance planner) from attending. After all, LA is a weekly buffet of important events.

I don’t know the anarchist credo, but ambitious scheduling and event planning do not seem to be a part of it–it is more an organic social-mutualism when a gathering occurs. There does not seem to be a drive for amassing or controlling ‘things’, instead there is simple living, healthy eating, love of books, knowledge sharing and a great deal of do-it-yourself-ism.

In 1927, Aline Barnsdall donated Barnsdall Park and her Frank Lloyd Wright designed home (The Hollyhock House), to the City of Los Angeles. The intention was to maintain an active and long-lasting arts center for the community. It was a beautiful setting for the Anarchist Book Fair, which spilled out of its Metropolitan Gallery doors into the park with tables of information, books, zines, food, educational selections, unique political history and autobiographical books, health related appeals, social justice causes, musicians, slogan patches and buttons, handmade jewelry and art. Everything extremely affordable, if not free.

According to the day’s schedule handed to me upon arriving, there was an early morning community set-up of the space, indigenous dancers, lunch, and a preview performance of “The Ballad of Ricardo Flores Magon: the unearthing of radical LA history”. There was a children’s play area in the park, as well as art and craft projects.

Shopping does not interest me. I passed up all the book tables, went straight to the vegan tamale line and to get a big drink of cold water. I think that’s when I lost my friend. Its been very hot in Los Angeles for a few weeks now. We are so spoiled with the weather, that any day not being 78 degrees, seems intolerable. After eating I entered the air conditioned gallery and took a stroll around the ample space. I imagined when this was Aline Barnsdall’s home and it amused me to think that no anarchist would ever want to live in such grandeur. The building has had such an interesting history. I also wondered if the McCarthyists had ever met there to plot against Hollywood. This sort of dichotomy is very intriguing to me.

Looking at the schedule of speakers and presentations, I spotted that the rooms in the gallery had been baptized into names like Emma Goldman Room, Ricardo Flores Magon Room, Buenaventura Durruti Room, Enrico Malatesta Room, Lucy Parsons Room, Voltairine de Cleyre Room and the Makhail Bakunin Room. These rooms hosted such topics as “Class War California-style: Riots, Occupations and General Strikes,” “Imperiled Life: Revolution Against Climate Catastrophe,” “Building Autonomous Resistance through Mutual Aid,” “Political Prisoners in North America,” “The Chilean Student Movement,” “Building Power Movements,” “Police Infiltration, Surveillance and Spying,” “Gender Strike,” “Bike Blenders,” “Palestine Solidarity,” “Anaheim Uprising & Cop Watch,” “Igniting the Revolution within a Sex-Positive Approach to Healing,” “Anarchist Parenting,” “Liberation Healing,” “ Now and Then, the Challenges in Anarchism,” and other impromptu topics not listed.

I spied my lost friend in the gallery, where he dwelled the rest of the afternoon in the cool sanctuary. Later, he even took a turn behind one of the book tables, chatting up the books and making sales. I liked the informality.

After being taunted on Facebook with a barrage of announcements about an exhibit called “Look at These Fucking Artists,” I went from word/concept insulted to realizing that this was the art portion of the Anarchist Book Fair. The title took me aback, and in truth I had to warm up to it. I suppose all new art hits one like a slap on the face, or at least it does to me–as it should be.

There was no physical art on the walls at the Anarchist Book Fair, “Look at These Fucking Artists,” were a series of engaging art discussions. I missed the art talks on “Art Labor,” “Mural Moratorium,” and “Text & Action”. As I was standing in the gallery, a young woman came up to me and asked me to join the next art talk on “Beyond LA Xican@isms,” on the balcony. Hmm–a modern version of “Chicano” with a gender inclusive spelling–I’m there! Each discussion of 12 to 15 people started with everyone introducing themselves and the moderator asking a question to the panel about art and anarchism.

In Xican@isms, Fabian Debora, a visual artist who specializes in gang intervention activism and works at Otis College of Art & Design sensitizing students to political correctness in their art work, said that the art world was more political and complicated than being in a gang. That really stuck with me as well as made me smile.

While others attended art discussions on “Institution of Social Practice” and “Propaganda”, I attended “LA Zapatismo”. Presenter Dr. Roberto Flores, had organized a group of community members in the late 90s for a trip to Chiapas called “Encuentro” (Encounter). The Encuentro was a sharing of ideas with the members of EZLN and LA artists. In the end,  art work was created and based on the concepts learned and shared at the Encuentro. After, Dr. Flores established a non-profit meeting/community space in El Sereno and focused the rest of his discussion on LA Zapatismo as it relates to the challenges of being a viable voice in the El Sereno community without being thought of as ‘problematic‘ to the local politicians, by integrating into the community through majority issue support and by being an “under the radar’ physical barrier to community changes/divisions being planned by outsiders.

Next I missed “Pussy Riot” and “Militant Knowledge” to attend “ Narcos”. Jen Hofer, demonstrated a portable radio studio she and her colleague use to provide translation services at community meetings where there are Spanish and English monolingual attendees. Her group has provided this service throughout Mexico and especially on the US and Mexico borders, because they feel communication is crucial to these national communities. Artist Raul Baltazar was there to speak of his work with the art movement in the United States that is creating criticism on Narcotraficantes. The Anarchist Book Fair being so organic, soon Raul passed the presentation to me and I became part of this panel too. I spoke of my work starting with the art campaign in support the disappeared women of Juarez 11 years ago. Something I (and Raul) had discussed was the Youtube films that cartel’s upload, in which they are torturing and killing innocents and other drug cartel members with numbing graphic violence. At the same time one must note that these films are an artistic process, with their editing, sound selection and graphic titles choices. Raul continues to question if he should be sensitive to the victims by censoring his art, or if he should be brutally honest in his cartel art, even if it (yet again) wounds the victims.

At the end of the day, I attended “MMOOCCAA”, a critique on Eli Broad’s personal hands-on recreation of the art scene in Los Angeles. By appointing key museum personnel who work against the mission of a Museum–i.e. to educate the community about art, he has declared war on the LA art community. Broad and his operatives want to reinvent the museum system into a money making enterprise by curating rave-like art events and featuring east coast artists. This money/power-fueled philanthropy has been interpreted as a hostile belittling of art created in California and the west coast. There were gallery people from LACE and the Hammer Museum in this talk. Interesting that the subject of government supported art should be desired by some of the attendees in this group, as a salvation from well meaning philanthropists. The idea of government control of art as a resolution is contrary to anarchism. Just goes to show that all opinions were valid at the Book Fair.

Next year’s Anarchist Book Fair promises to be even better. The only thing I would change is to make sure to bring my own sack lunch. It was a long, engaging day coupled with humid weather on that balcony—-it would have been good to have a little extra fuel for sustenance.

Take Note

I suppose everyone has to have a deficit disorder of some sort. Mine is making lists. I have little books, notepads, sketchbooks, pieces of paper, pieces of box cartons, business cards, postcards and receipts with telephone numbers, recipes, books titles, music artists, song titles, drawings, ideas, diagrams, measurements, film script stories, name lists, emails, websites, grant leads, wish lists, shopping lists, to-do lists, written descriptions of various things, street intersections of places that I want to stop and check out someday, color arrangements, DIY project notes, restaurants addresses,  friends’ birth dates, words and philosophies I want to look up, math summations and formulas, Spanish words I don’t know, paint chips, quotes I like, driving directions and printed clippings.

I keep these little books (some decorated) where they are easy to find and write in: 2 in my car console, 1 on my dining/work station, 2 in my desk drawer, 1 to 2 in my purse  and the completely filled up ones in a box on a book shelf.

Funny thing is that I don’t look at them that much.  I am compelled, in an addiction manner to buy more little books whenever, wherever I see them.  I’ve processed this way my whole life, making some of these little books pretty old.  Its as if once I put something down on paper, it’s inscribed in my mind.

I take pride in being very organized in most of my daily tasks and spaces–very logical on how I began every project–but the little books have no rhyme or reason.  Each page has no relation to the next, each entry is in no particular order and the only way to find anything, would be to open each one and flip-read through each page. Somewhere in the back of my mind, I think I will have time to read these again.

I get miffed with myself when I see artists’ sketch books that are dedicated to just art drawings and thumbnail images of a greater art piece to come.   I suppose in a way, my little books are the sketch books of my art and mind.  Perhaps, these notations from all these little daily thoughts, electromagnetic ideas and sequences of matters that pass in front of my eyes represent my art. Maybe this is my religion.

Peel Here Snapshot

(Above) Peel Here 5, a photo from The Dirt Floor Magazine of Victoria Delgadillo’s sticker.

The Dirt Floor was a leading contemporary and underground arts and culture magazine dedicated to surfacing the best of street, underground art, and pop culture in its many forms. Now its a side note here  Sticky Rick curated the Peel Here Adhesive Art exhibit and created Victoria’s sticker from the silk screen print below.

“Vickie (Victoria Delgadillo) always loves a party where the talking is good ’cause the voices  get under her skin just like the funk in the music that makes her body move and her hands follow in a sweet sway in front of her, hands that find their way across a canvas sometimes or destiny’s cards, so they’d tell her where she’s at, though she’s never been no place too long, drifting through age and mind, growing a buddhist’s bud in a shui’ed out potted garden just to see where it takes her, maybe to a psychic surgeon somewhere in San Diego or a third eye convention in space”

..from “snapshots” a series of shorts of my friends by Aida Salazar