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    Five Latinx Artists Explore Materiality, Identity, and Belonging in ‘Los Encuentros’

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    Facade mural by Ozzie Juarez. Photos by Alex Marks. All images courtesy of Ballroom Marfa, shared with permission

    Five Latinx Artists Explore Materiality, Identity, and Belonging in ‘Los Encuentros’

    July 23, 2025

    ArtSocial Issues

    Kate Mothes

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    Marfa sits at the crossroads of US-90 and US-67 in the expansive Chihuahua Desert of far West Texas. About 60 miles from Mexico, U.S. Border Patrol trucks are a common sight along the roads, in addition to an unmissable, otherworldly tethered surveillance blimp that hovers near the highway between the town center and one of its most iconic installations, Elmgreen & Dragset’s “Prada Marfa.”

    As the current administration’s immigration policy has taken effect, the politics of identity and geography have again been thrust front and center—often violently. In this remote borderland, where the one-stoplight-town has been redefined by influential art world personalities for several decades in an idiosyncratic convergence of ideas and lifestyles, there is a unique opportunity to engage with themes of community, narrative, socio-economic realities, and a sense of place.

    Justin Favela

    Ballroom Marfa’s summer exhibition, Los Encuentros, gathers the work of Latinx artists Justin Favela, Ozzie Juarez, Antonio Lechuga, Narsiso Martinez, and Yvette Mayorga. The gallery describes an aim of the show, the title of which translates to “the meetings” or “the gatherings,” as “the representation of Latinx culture to confront the accessibility of art spaces, colonial art histories, the conditions of labor, and lived experience.”

    Amid daily news reports of ICE raids around the nation, the work in Los Encuentros is a timely and provocative exploration of today’s societal complexities along with being a way of “responding to the experiences of the people and places they engage with and depict,” a statement says.

    All the artists employ a wide range of materials and techniques, from Mayorga’s frosting-like, piped paint to Favela’s vibrant ruffled paper installations redolent of piñatas. Lechuga uses Mexican blankets, or cobijas, creating sewn textile collages that explore a wide range of experiences and perspectives amid the current political climate.

    Martinez continues to create intimate, candid portraits of farm workers by using produce boxes, bags, and repurposed plastic as his substrates as a reminder of the often invisible labor that goes into putting food on Americans’ tables. And Juarez has completely transformed Ballroom’s facade in to a giant painting derived from ancient Mesoamerican motifs.

    Narsiso Martinez

    Los Encuentros is curated by Texas-based Maggie Adler, who expressed delight at being able to collaborate “with artists whose practices center on allowing a broad range of community members to see themselves represented in art spaces.”

    The show continues through October 12. Find more on the gallery’s website. And during open hours, keep an eye out for Rachel Hayes’ colorful patchwork flag that flies out front.

    Ozzie Juarez

    Narsiso Martinez

    Justin Favela

    Antonio Lechuga

    Detail of a work by Antonio Lechuga

    Yvette Mayorga

    Detail of a work by Yvette Mayorga

    Antonio Lechuga

    Detail of a work by Antonio Lechuga

    Narsiso Martinez

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      in Art

      An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago

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      Alfonso “Piloto” Nieves Ruiz, , born Querétaro
      Mexico, 1975, “In the name of progress,” (2017), mixed media, 69 5/8 x 26 x 24 inches. Photo by Photo by Lisa Lindvay
      . All images courtesy of Intuit Art Museum, shared with permission

      An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago

      May 23, 2025

      ArtSocial Issues

      Grace Ebert

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      Built on the traditional homeland of the Sauk, Fox, and Potawatomi peoples, Chicago is a city of immigrants. Just 13 years after the city was incorporated in 1837, more than half of its residents were born overseas, having flocked to the region from across Europe and Asia alongside tens of thousands of others. Today, Chicago is home to 1.7 million immigrants, totaling 18 percent of the population.

      The inaugural exhibition at the newly renovated Intuit Art Museum celebrates this history by bringing together 22 artists with ties to the city. Comprised of 75 works across mediums, Catalyst: Im/migration and Self-Taught Art in Chicago highlights those who worked in the Midwest and established their practice outside the traditional art world models.

      Carlos Barberena, born Granada, Nicaragua, 1972, “Exodus” (2019), linocut on HW Rives paper, edition of 25, 24 x 19 inches

      Intuit is a longstanding champion of self-taught artists. Established in 1991, the museum has recognized the incredible creative contributions of those operating outside the mainstream due to economic, societal, or geographic reasons.

      One such artist is Henry Darger, who worked as a hospital custodian by day and produced an enormous collection of drawings, watercolor paintings, and cut paper works only discovered after his death. While Darger’s works now sell for prices in the high six figures, his story is unique. Historically, self-taught artists don’t often attain the critical or financial recognition of their traditionally trained peers.

      Catalyst comes at a particularly relevant moment in the U.S., as immigrants are under increasing threat. Spotlighting works with a wide array of topics and approaches, the exhibition creates a sort of contemporary tapestry of those shaping Chicago’s cultural landscape since the mid-20th century. The show intends to highlight “artists deserving of greater attention, while posing questions about access to the art world and how art comes to be defined and valued,” a statement says.

      Included are four impeccably detailed paintings by Drossos P. Skyllas (1912-1973), an Ottoman-born artist known for his enchanting hyperrealistic portraits. Charles Barbarena works with a similar devotion to precise mark-making in his portraiture. The Nicaraguan artist creates linocuts that frame instances of trauma and adversity with elaborate floral motifs, his depictions of people continually harnessing compassion and resistance.

      Drossos P. Skyllas, born Kalymnos, Ottoman Empire (now Greece), 1912-1976, “Greek Bishop” (c. 1967), oil on canvas, 65 x 41 1/2 inches

      Found object and mixed-media sculpture features prominently, too. The soaring miniature cathedral by Charles Warner, for example, interprets the sacred spaces of his childhood in Prussia through hand-carved wood and pastel paint. There’s also the figurative assemblage of Alfonso “Piloto” Nieves Ruiz, who sculpts a rendition of the Statue of Liberty. With a torso of unidentifiable hands caked in soil and detritus at her feet, Piloto’s “In the name of progress” complicates the symbol of freedom.

      Catalyst is on view through January 11, 2026.

      Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm

      Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm

      Photo by Lisa and Nick Albertson

      María Enríquez de Allen, American, born Allende, Mexico, 1907-1999, “Untitled (New life goat skull)” (1997), mixed media, 8 ¾ x 7 x 10 ½ inches. Photo by Lisa Lindvay

      Marion Perkins, American, born Marche, Arkansas, 1908-1961, “Untitled (Wire head)” (c. 1955), steel wire, 19 x 12 x 13 inches. Photo by Lisa Lindvay

      Bronislaw “Bruno” Sowa, American, born Lubomierz (Poland), 1915-1995, “Untitled” (1994), oil on board in carved pyrography frame with glass jewels, 33 x 24 x 1 1/4 inches. Photo by Lisa Lindvay

      Photo by Lisa and Nick Albertson

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    • 113 Shares189 Views

      in Art

      Guadalupe Maravilla’s Volcanic Rock Sculptures Invoke Resilience and Regeneration

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      “Dream Backpack 1” (2023), volcanic rock and objects collected from a ritual of
      retracing the artist’s original migration route, 16 1/4 x 12 1/4 x 4 1/2 inches. All photos by JSP Art Photography, courtesy of Guadalupe Maravilla and P·P·O·W, shared with permission

      Guadalupe Maravilla’s Volcanic Rock Sculptures Invoke Resilience and Regeneration

      December 13, 2024

      Art

      Grace Ebert

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      With the region’s smallest geographic footprint, El Salvador boasts the second-highest number of volcanos in Central America. The country is located on the Ring of Fire, a tectonic band that encircles the Pacific Ocean and houses about two-thirds of all volcanos worldwide. Given its eruptive landscape, much of the soil is rich in ash.

      In a series of sculptures, Guadalupe Maravilla (previously) draws on his home country as he sculpts backpacks and enlarged hands from volcanic rock. The works reference the artist’s migration from civil war-era El Salvador as an unaccompanied minor, a traumatic journey that remains a central theme in his practice.

      “Luz y Fuerza” (2024), oil on volcanic rock, 14 x 14 x 4 inches

      A trio of pieces, titled Dream Backpacks, refers to “how we immigrate to the U.S. by land and carry everything we own in a backpack in search of the American Dream,” Maravilla writes in a statement. Embellished with pink, purple, and blue paints, the poignant works display a variety of charms—feathers, a small cat figure, and metal details like a spigot—the artist collected while retracing his childhood route.

      Other works take the form of a burly hand cradling smooth shapes featuring pieces redolent of retablos, small devotional paintings often invoking protection during times of hardship. Lightning bolts, stars, and snakes recur throughout the compositions, along with references to the artist’s colon cancer diagnosis, which he has long linked to the trauma he suffered as a child.

      December 12 is special to Maravilla and titles one recent work featuring linked wishbones, crystals, and the children’s rhyme “Sana, sana, colita de rana,” which translates to “heal, heal, little frog’s tail.” As Maravilla shares on Instagram, “On 12/12/12 I found out I had cancer. 12/12/13 I overcame cancer. Today, I am starting a new chapter 12/12/24 with a special meditation.” Similarly, a cake with a “0” candle appears in “Luz y Fuerza,” which resembles a pastry the artist once used to celebrate both his birthday and what he considers his rebirth as cancer-free.

      Citing resilience amid struggle, Maravilla’s sculptures call on healing and regeneration. Volcanic ash, after all, is one of the most potent natural fertilizers and a key factor in sparking new growth.

      Maravilla is represented by P·P·O·W Gallery in New York, where you can find more of his work.

      “12/12/24” (2024), oil on volcanic rock, 13 3/8 x 13 3/8 x 4 1/8 inches

      “Dream Backpack 3” (2023), volcanic rock and objects collected from a ritual ofretracing the artist’s original migration route, 16 1/4 x 12 x 4 3/4 inches

      “Self Love” (2024), oil on volcanic rock, 13 3/8 x 13 3/4 x 4 7/8 inches

      “Heal Seven Years Back” (2024), oil on volcanic rock, 13 3/8 x 13 3/4 x 5 1/2 inches

      “Dream Backpack 2” (2023), volcanic rock and objects collected from a ritual of retracing the artist’s original migration route, 16 1/2 x 12 1/4 x 4 1/4 inches

      “Sana 7 Años Atras” (2024), oil on volcanic rock, 14 1/8 x 14 x 4 3/4 inches

      “Si No Sanas Hoy Sanarás Mañana” (2024), oil on volcanic rock, 13 3/8 x 14 1/8 x 4 3/8 inches

      “Sana Sana Colita de Rana” (2024), oil on volcanic rock, 14 1/8 x 13 3/4 x 4 7/8 inches

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    • 150 Shares159 Views

      in Art

      Einar and Jamex de la Torre’s Monumental Glass Assemblages Hurtle Through ‘Collidoscope’

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      “Oxymodern (Aztec Calendar)” (2002), blown-glass, mixed-media wall installation, 120 x 120 x 12 inches.
      Image courtesy of the Cheech Marin Collection
      and Riverside Art Museum. All images courtesy of the artists and the Corning Museum of Glass, shared with permission

      Einar and Jamex de la Torre’s Monumental Glass Assemblages Hurtle Through ‘Collidoscope’

      December 5, 2024

      ArtCraft

      Kate Mothes

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      In 1972, when Einar and Jamex de la Torre were nine and 12 years old, respectively, their family moved to Southern California from their hometown, Guadalajara, Mexico. Building upon their immigrant experiences and the sometimes contradictory facets of bicultural identity, the artists began creating sculptures and installations exploring themes as varied as time, religion, traditions, and regionalism.

      The pair have collaborated since the 1990s, combining blown glass and mixed media into large-scale wall pieces and striking public art. In the expansive exhibition Collidoscope: de la Torre Brothers Retro-Perspective at the Corning Museum of Glass, the pair present 40 works spanning nearly three decades.

      “Meteorite dall’ Influenza Veneziana” (2024)

      Included in the showcase is a brand new, monumental commission titled “Meteorite dall’ Influenza Veneziana,” which draws on the rich history of Venetian or Murano glass.

      While only pieces produced on the small Italian island can bear the name of Murano—think Champagne in the wine world or Parmigiano Reggiano for cheese—the de la Torre brothers revel in the idea that “once [the technique] escaped, it hit the glassblowing world like a meteorite,” Einar says.

      The de la Torre brothers are known for their additive approach, layering both meaning and material into meticulous assemblages. Vibrant colors and sometimes ironic details, like symbols for a car battery or engine light, emerge when encountered up close, then dissolve into energetic patterns when viewed from a distance.

      Detail of “Meteorite dall’ Influenza Veneziana”

      Today, the duo split their time between San Diego and the Guadalupe Valley of Baja California, Mexico, and the occasionally humorous interplay of American and Mexican motifs hold a sustained role in their practice. Many pieces incorporate motifs specific to Mexico, like the iconic, circular Aztec calendar that combines a 365-day cycle with a 260-day ritual or spiritual cycle. Mechanical gears, shells, religious iconography, anatomy, and more, merge in their maximalist compilations.

      The brothers created the new work in the Corning Museum’s studio, and the idea for incorporating Venetian details like cane work arose organically around the hot shop team’s experience with the style. “An artist’s job is to get away with their vision,” Einar says, “and we were very gratified and surprised at how much support we had for our ideas for this commission.”

      Collidoscope continues through January 5 in Corning, New York. Find more on the artists’ website.

      Detail of “Meteorite dall’ Influenza Veneziana”

      “Frijolera Clásica” (2010), bown-glass, mixed-media sculpture, 31 x 18 x 18 inches. Image courtesy of Crocker Art Museum

      “Mitosis” (2008), blown-glass and mixed-media with resin castings and waterjet-cut aluminum frame, 48 x 48 x 9 inches. Image courtesy of the artists and Koplin Del Rio Gallery

      “En Cada Arbol una Cruz” (2000), blown-glass, mixed-media sculpture, 28 x 21 inches. Image courtesy of the artists and Koplin Del Rio Gallery

      Corning Museum of Glass staff work with the de la Torre brothers to install “Meteorite dall’ Influenza Veneziana”

      The de la Torre brothers construct glass installation components in the Amphitheater Hot Shop of the Corning Museum of Glass

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