Interview

What is your background and how did you start your journey in the art world?

“At age 5, while in preschool art class I was given a pair of scissors and construction paper to create art. The paper and the scissors in my hand felt amazing as I worked to cut shapes. The colors, ease of cutting and the results of my efforts all stuck with me; from then on I was hooked.
Paper is an integral part of my life and it plays a role in how I see the world through the lens of art. From elementary school to 21 years later I continue to cut paper. However, after college I set it aside while attending Friends University and Wichita State University in Wichita, Kansas. While in college I was hired to work for a well known poet and theatre director in NYC, Owen V. Dodson. I left Wichita, and traveled to NYC to work for Owen. Soon after settling into a 17 story penthouse overlooking Times Square, Owen passed away due to health issues. The event was tragic for me. To distract myself, I picked up a match book and I began cutting into the cover with scissors. What appeared reminded me of a more innocent time in early childhood. Once again, I was cutting paper and haven’t stopped. My work is now in various collections around the country. For me paper art continues to be my solace, my refuge and my sacred space. It is a place to find harmony, unity, and serenity and every time a work is made, I feel like I’ve attended a long mental health therapy session.
In New York City, I had a job in a print factory, in the fashion district. I saw racks of clothing being loaded into trucks. They were some of the finest garments and designs to be seen anywhere. Once again, the colors and the designs struck an inner chord. One day my boss at the printing factory assigned me to clear the supply room. It was full of damaged, discolored and excess paper. I was amazed to come across stacks of blue and red paper. How tragic to throw away such useful and beautiful resources. After work I had quite a challenge getting everything collected onto the subway, but the paper was a wonderful opportunity for me to make new works and with fine paper. My collected treasure served as an art resource for many years, and still I have pieces from that fortunate day.
Since living in New Mexico my work has been at the Albuquerque Museum, Millicent Rogers Museum; and art galleries, like Michael Gorman, Omni Hum, KiMO theatre gallery, and South Broadway Cultural Center Gallery. In the year 2000, I was selected to show at the Museo Chicano in Phoenix, Arizona. That was particularly gratifying as one of the judges for this juried show was the famed artist, Luis Jimenez. My getting the notification of acceptance was a wonderful moment to remember. Many artists are trained for and work in traditional mediums like sculpture, oil and acrylic; but I wanted to make paper my medium, and make of it what I could call ‘my own.’”

What inspires you?

“After moving to New Mexico, USA in 1987, I continued paper cutting as a way of dealing with the challenges and uncertainties of everyday life. Seeking opportunities to show my art, I went into the South Broadway Cultural Center, a city sponsored gallery in Albuquerque. When I showed my work to the gallery curator, she called it ‘Papel Picado.’ She was referring to the Mexican craft of cut tissue paper in which banners are strung up for festive celebrations. These often portray images of Day of the Dead, skeletons riding bicycles, playing musical instruments and other festive activities. I am inspired by the Mexican tradition of Papel Picado; however over time my own process has evolved, with my own technique. I am inspired to incorporate, into my art, dance, music and acting, which can be felt by looking at my work.
In New York City I studied Modern Dance with the finest; at Wichita State I studied music and met musicians; through the years poets, writers, and artists of all mediums have influenced me and continue to inspire my creations.”

What themes do you pursue? Is there an underlying message in your work?

“My work tends to be abstract in nature. Since there are artists painting far better than I ever can, I use paper to make my own technique. Since my works are abstract, the viewer is given the opportunity to find their own images and meanings. Using paper that has ended up in a refuse, rather than see it discarded, I repurpose it as art. In essence the idea is to upcycle, recycle and reuse perfectly good materials to make something new. Abundance causes us to forget that these limited resources too easily end up in landfills only pollute the earth. Paper, by the way, is a valuable product for legal tender, documents, certificates, daily home use, and musical notations to name only a few.”

How would you describe your work?

“My work tends to be two dimensional, consisting of a cutout silhouette image laid on a colored mounted background, usually it's two colors. It’s been said the works are colorful, fun and engaging. One art critic stated ‘Tlacaelel’s frames have a hard time containing his works.’ Often, when people discuss my pieces they tell me what they see. There are a myriad of possibilities of what can be found in abstract work, surprising even me.”

Which artists influence you most?

“I have worked with a number of well known artists, the likes of which are Owen Vincent Dodson, poet; Paul Sansardo, dancer, Oscar Lozoya; photographer, Jimmy S. Baca: poet, Douglas Riva; concert pianist and others who have deeply inspired me to dedicate my life to pursue the life of an artist. All of those experiences with such great, and recognized artists have had a play in how I see and do my own art. Paul Sanasardo, a dancer and choreographer once said to me, ‘Don't go to a party expecting a party, you be the party.’ He also said, ‘Get good enough at your own craft that you write your own meal ticket.’ Oscar Lozoya, a photographer, once said to me, ‘It's not just the people that love you that make you famous.’ and May O'Donnell, dancer and choreographer once said to me, ‘To do your work you have to be like a bulldog, bite in and hold on tight.’ I have been very fortunate to have worked with some of the finest artists in the country and all of those experiences, once again, permeate my work and my efforts. I am eternally grateful for all that has been granted me in the way of creativity, spontaneity, and serendipity.”

“My work tends to be abstract in nature. Since there are artists painting far better than I ever can, I use paper to make my own technique.”

What is your creative process like?

“To begin I first prepare my work surface. Then gather the paper, cutting board, and razor blade. Both double sided and scotch tape are used. Generally there is no idea or concept in mind when I begin a work. A razor blade is set to page, and I begin, much like a jazz musician will improvise on an instrument, or a dancer will move free form. I see how images are emerging and how shapes can fit around each other. As the work progresses, I may step back to see where the next cut might be, or how to change, enhance or elaborate on what is shaping up. I know a work is finished when I feel there is nothing more to be cut. I don't go back later to cut more when the work is finished. In my creative process I have amassed a collection of my art spanning 40 years.”

What is an artist’s role in society and how do you see that evolving?

“I feel that an artist’s role in society is to help free the viewer from the angst of everyday life. We all face challenges that may seem daunting and may even seem hopeless. Art can be a vehicle for solace and peace, and can take our minds off the troubles of the world. Aesthetics can help us step outside of our own lives for a moment, give people a moment where they can live in the art, contemplate the art, and discover the images. Art gives a view to escape into a world of calm; also incite people to be uncomfortable, causing them to reevaluate their own ideas and prejudices. Like Paul Sanasardo once said to me, ‘If you don't have people squirming in their seats, you aren't doing your job.’ Recently I did a cut paper piece, and someone looking at it stated, ‘This work makes me uncomfortable, it's scary.’ If I caused that kind of reaction in someone then, according to Paul Sanasardo, I've done my job. I will continue to make art until my last heartbeat. My goal is to continue to evolve and grow in my process, and I’m looking forward to more evolution and to see how my work changes.”

Have you had any noteworthy exhibitions you'd like to share?

“At present, my work is on display in two galleries in Taos, New Mexico, it can be seen at the Omni Hum Gallery through January 2025, and at the Michael Gorman on permanent display. Michael Gorman also has an online gallery where works are available for purchase. I have been asked by the Millicent Rogers Museum in Taos, New Mexico to co-curate an exhibition on Chicano Art. That show is set to take place in June of 2025, and will serve as a microscope exhibition, examining the works of artists from all around New Mexico, USA. Considering the current political climate, this show will serve as a commentary on what is going on in the state of Chicano art today, yesterday and in the future. During COVID-19, I was invited to hang cut paper art in a display window to keep art alive at a time of isolation and social distancing. My work hung in the Taos Mesa Brewery window where people driving by could enjoy cut art without having to get out of their vehicles.
Next June through November my work will be on display at the Millicent Rogers Museum in Taos, New Mexico, in an exhibition titled CHICANAO! Destinos Distintos!”