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ABOUT

Summary/synopsis:


David is an indigenous immigrant artist living in the Midwest since 2017. David grew up in Oaxaca and Guanajuato in Mexico. For fifteen years He has dedicated his artistic work to the production of figurative sculpture, with an emphasis on experimentation with a wide variety of materials. Since 2014, his work has been enriched through pictorial interventions in public spaces and community art. His productions arise from constant reflections on identity, the implications of being human, and the process of migration that increasingly links us as a global society. Working with a network of reinterpretations of symbolic elements from pre-Hispanic, Mexican cultures and the indigenous communities of the Americas to offer the viewer decolonial perspectives for both addressing and generating questions.

Conceptual axis


The themes that permeate His work are reflections around three conceptual axes that are intrinsically related: identity - both individual and collective - the human being and migration.


A recurring theme in his production is reflection on identity; both the complexity of my own identities and the collective identities that link us to different socio-cultural groups and  each other. I am a Mexican, a Chinanteco indigenous from Oaxaca, and the grandson of a textile artist from whom I learned to create beauty with my hands. I grew up in different regions of Mexico, exposed to a great variety of artistic and cultural expressions as similar as they were contrasting; is how I trained as a person and as an artist in the midst of constant changes in places, cultures and languages. My production reckons with my  difference, intermediacy , and adaptation It also reflects the identity of the multiple communities I have been a part of and that are part of me.


Much of my artistic thought addresses what it means to be human through  the representation of the human figure. The human figure allows me to express and raise questions about the interrelation between mind-body-spirit, the duality of life and death, the fragility of the body and the connections between human and non-human beings. In acknowledging cultures around the world have asked these same questions, I link indigenous worldviews that aid us in understanding our humanity from a decolonized perspective. Giving us new alternatives to understand ourselves as social beings interconnected with other living beings.



Although his work adopted artistic practices throughout Mexico that enriched and diversified his art making through his constant migration within Mexico, migration has become a central axis of his work since He moved to the United States. In the US I am part of the Latin American communities, which have historically been marginalized: in a matter of border crossing, my identity and that of my family as Mexican migrants became salient. This process has led me to question the narratives that perpetuate segregation, division, hierarchies and the understanding of difference as dangerous instead of promoting unity, collaboration, equity and appreciation of the differences. My questions have led me to observe the processes of oppression experienced by indigenous groups in different countries are the same. My work calls us to equity: to appreciate both Mexican and indigenous people, their cultural traditions and the differences that enrich multicultural communities.


 Formal axis and production


My production is primarily sculptural work and more recently public and community art. My aesthetic language is based on the human and zoomorphic figure that I seek to articulate with the presence of symbolic and aesthetic elements that are part of pre-Hispanic worldviews and of indigenous peoples throughout the Americas, many of which coincide.


The medium that I use in sculpture is always subordinate to the form and context in which each work is produced, both are an intrinsic part of the work and guide my selection of materials. This way of understanding artistic production has allowed me to sculpt and model with a wide variety of materials, formats, dimensions and details, as well as to explore interventions in public space with community art in the form of murals and workshops.


Community art is art made for a community where the same community is an active part of the process of conceptualization and/or production of the work. The community art projects that I have developed recently have been in collaboration with members of the Mexican community from Nebraska. These works make visible and attribute value to the cultural features of this community that have historically been ignored and rejected. The works open the possibility for community members to connect, develop a sense of belonging to the locality where they live, and become more forcefully involved in improving their living conditions, their neighborhood and their city. The works make Mexican culture visible, exhorting society to appreciate the active contributions that this community makes to our city. The murals are works of public art that portray people who live and give vitality and cohesion to the Mexican community in Lincoln. The murals are a reflection of this same vitality. The workshops allow the use of Art to open spaces that increase connections between members of the community to address issues of social justice.