Artist Statement

ARTIST STATEMENTS

2006

Sometimes you discover who you are in the company of others who come from other parts of the world. I find myself learning about the heritage and culture my family has engraved in my soul through my experiences and interactions with people. The body of work I am working on is simply a reflection of this epiphany.

From issues of lost history to the value systems that drive our relationships with our families, friends and communities, I take every moment as a learning experience. I believe in sharing my informal theories about what I have learned with others.

We are always changing and so," There are still questions about the culture that is in my blood"

2002-2004

My present work is influenced by the diversity of the Puerto Rican people. The migration of Puerto Rican people to the United States is a life change for those families that settle in the states. The impact of the migration and integration is a culture with various values and traditions. To explore and express the fusion of cultures in “the Puerto Rican”, I am creating an installation of 40 busts. The installation will capture a variety of physical features representing the different roots embedded in the present day generation.

The installation embraces the busts of various individuals such as Mayor, Eddie Perez, community youth workers, teachers, business owners and others. The 40 busts sit at eye level, suspended in the air by steel wiring. An environment of temporary existence and historical metaphors is released through a series of Interview audio tracks that describes the lives of the individuals.

The Process

Individuals are recruited to model for 45-minutes to an hour. The models themselves then become recruiters of the project. An individual comes into the studio and sits on a barstool. During the time they are sitting an informal conversation is happening. I ask questions like, “Where are you from? How long have you been in CT?” During the sit, I also begin to push the clay around forming the foundation for a skeletal structure of the person. At the end of the sit-in, I ask the model if they would like to share a particular part of their story to be recorded as part of the exhibit. After the recording a series of photographs are taken so that the bust can be finished.

The bust then takes about 10-15 hours to be completed. It is then left to dry until the clay reaches a leather dry state. The bust is then cut in half. The inside of the bust is scooped out rapidly and carefully so that the thin layer of clay can be put back together in one piece. If to much time is taken the clay begins to crack. The bust is then left on a shelf where it can evenly dry. After it is dry, it is then put in the kiln and fired so the clay can mature. After two days the bust can be painted or glazed to the color that best fits the persons energy at the time of the sit-in.

The audio interview recordings are then edited and put into a single sound track. Audio is then installed to be a part of the exhibit. The visual presence of the busts, accompanied by audio, depicts the similarities in the language and psychological values of the Puerto Rican culture.

This page has been visited

times.