Today we’d like to introduce you to Juan Herrera.
Hi Juan, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
As a Midwestern Latinoamericano, my upbringing in both Bowling Green, Ohio, and Caracas, Venezuela imbued me with a unique perspective that has greatly influenced my artistic practice and research. From an early age, I was fascinated by the complexities of identity, including how it intersects with issues of language, nationality, culture, and sexuality.
It was during my studies of creative writing and literary theory and criticism at the Universidad Central de Venezuela that my interest in exploring identity first took root. My studies under professors and writers such as Rafael Castillo Zapata, Boris Muñoz, and photographer Nelson Garrido inspired me to explore the intersection of text and image. This led me on a journey to the University of Iowa, where I studied under Daniel Balderston and Chicano writer Santiago Vaquera-Vasquez. And later at the School of the Art Institute of Chicago, under the guidance of professors such as Joseph Grigely, Aimee Beaubien, and Oli Rodriguez, I pursued an interdisciplinary and conceptual approach to my artistic practice.
After returning to the Midwest, I connected with the local LGBTQ community and honed my skills as a photojournalist by working for newspapers. During this time, I also embarked on a documentary project centered on Drag Kings in Iowa and Illinois. Through this project, I began to reflect on the ways in which Latin American art, literature, and identity intersected with my experiences as a visual artist. This led me to consider how the LatinX experience in the US was intertwined with my own artistic journey.
As part of my exploration, I turned to comics, using the visual language of the 70s and 80s comic books translated into Spanish for consumption in Latin America to problematize the asymmetrical cultural exchange between the United States and Latin America, particularly as it pertains to the LGBTQ and BDSM communities. This dynamic of appropriation and queering of oppressive discourses is in direct dialogue with José Esteban Muñoz’s strategies of disidentification.
Throughout my career, I have explored the intersection of identity, performance, and immersive installations, examining how bodies are read and received by the world around us. Two group exhibitions in particular, Helps it to Fell, Compels it to Make at the Weinberg/Newton Gallery in April 2018 and Queering The Abject at dfbrl8r| performance art gallery in 2017, marked significant turning points in my artistic journey. In Queering The Abject, I presented artwork that challenged the cultural stereotypes surrounding Latino masculinity and dominance by physically enacting the effects of the fetishization of the LatinX/Latin American identity. Visitors poured 60 pounds of wax on me as a symbolic representation of the cultural fantasies expected from the male Latino body, subverting the traditional power dynamics between observer/spectator and observed/performer. The exhibition explored themes of queered, racialized, and sexualized bodies and the cultural implications of the “othered” body through death and eroticism, roleplay, sadomasochism, and the “gaze” in creating visual media.
My journey then took me to Los Angeles, where I pursued my MFA in Photography and Media at CalArts under artists such as Kaucyla Brooke, Harry Gamboa Jr, and Andrew Freeman. There, I produced a body of work that continued to explore the ideas of fetishization through photographic prints of tropical fruits presented in a still life style and a hanging art installation using waxed fruits preserved in resin. Tying the fruits with knots found in BDSM practices, covering them in wax, and photographing them in a deadpan style, I used the fruits as a metaphor for the artist’s body.
Additionally, I continued to explore the connections between text and image by incorporating literary references into my work and producing photo-staged performances and video works that further explored the body of the LatinX/Latin American artist. My work delves into important themes and ideas in contemporary art, challenging cultural norms and stereotypes through immersive experiences that invite thought-provoking conversations. Throughout my career, I have been fortunate to receive support and recognition for my work, including being recognized by the Photographic Arts Council Los Angeles and being awarded the Media and Journalism Fellowship for Arts in a Changing America.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
Navigating the contemporary art scene has been a challenging journey for me. I faced uncertainties from living between the US and Venezuela during a tumultuous period in diplomatic relations between the two countries to experiencing economic and political instability in Venezuela. It was tough seeing my country go through such hard times. The hyperinflation in Venezuela was particularly challenging, with inflation rates becoming the highest in the world by 2014 and continuing to increase in the following years, reaching over 1,000,000% by 2018. These struggles made it difficult to pursue my academic and artistic endeavors in the US. It was a gut punch to receive an email from the Venezuelan government informing me that I couldn’t use my savings to cover my expenses as a student abroad. This is part of what informs my work in Imaginarios de la Identidad and Propelled Without a Passport, a documentary that I am producing, where I follow the conditions of contemporary art in Venezuela during this period of instability.
After the intensity of graduating during the pandemic, I took a yearlong break to reflect on my journey, plan for the future, and settle back in Los Angeles. This time also allowed me to reflect on my journey and plan for the future, including new projects that would challenge me both artistically and intellectually.
In my present work as an art educator, I feel re-energized and more focused than ever, ready to take on new challenges and create meaningful art. My journey has been anything but smooth, but it’s taught me resilience. The challenges have only made me stronger and more determined to create meaningful work that speaks to the world we live in. So yes, it’s been a bumpy ride, but the difficulties have only made me stronger and more determined to succeed in the ever-evolving world of contemporary art.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
As a multidisciplinary artist, my work is centered around the complexities of identity, representation, and power, and I utilize a range of mediums, including photography, creative writing, and performance, utilizing interdisciplinary and conceptual approaches. One of my most significant ongoing projects is “Imaginarios de la Identidad,” a series of large-scale photomontages that incorporate Venezuelan paper currency with documentary photoreportage of the country’s contemporary history. Through this project, I examine the intricate intersections of power, identity, and economy in Venezuela, how they are intertwined, and how they can be manipulated for political purposes. This series challenges the nationalistic narratives that are promoted through the currency, questions the mechanisms of image distribution, and raises questions about the formation of historical narratives; challenges dominant narratives and explores the relationship between power, identity, and representation.
My exploration of Latin American culture and history, with its connections to the United States’s history and culture, has always fascinated me. I am intrigued by the interplay between photography and literature, which I explore in another ongoing series of large-scale collages. I weave together elements of photography, literature, and cultural references to create thought-provoking work that examines identity and culture. Each collage features a carefully curated selection of images and texts, drawing on both iconic sources of photographic and literary history.
The McOndo movement and contemporary writers that navigate the intersection between Latin America and the United States are key inspirations for this project. At the same time, I draw on my own experiences as an artist and cultural references, weaving in elements of Latin American and European art and culture to create work that speaks to my identity.
Recently, my work has taken on new meaning in the wake of COVID-19 and my experience at the Twin Towers Correctional Facility in Los Angeles, where I worked in proximity to inmates in isolation. Through this experience, I have gained insights into the challenges of isolation, which I am now incorporating into my artwork.
My current project is a multidisciplinary work that includes performative actions, object making, creative writing, world-creating, and photography. Through this work, I am exploring the various facets of isolation and its impact on individuals and communities. By using different mediums, I hope to convey a nuanced understanding of this complex topic.
In addition to my experience at the Twin Towers, I’m also incorporating cultural and personal references into my current artwork. For example, I am exploring the concept of isolation not only from the perspective of a pandemic but also as an immigrant artist who has faced restrictions on travel due to diplomatic relations. As someone who couldn’t freely travel for more than a decade due to the break in the diplomatic relationship between the US and Venezuela, I have experienced isolation in my personal life, and this informs my artistic practice. By weaving in these cultural and personal references, I aim to create work that resonates not only with my own experiences but with others who have faced similar challenges.
During my time working at the Twin Towers, I was exposed to the harsh realities of the prison system. I witnessed firsthand the struggles faced by inmates, particularly those with mental health issues. The themes of isolation and alienation have been present in art throughout history. In my own work, I am drawn to these themes as I observe the lives of the inmates and their isolation from society. I utilize various mediums such as performance, printmaking, and creative writing to create artwork that captures the experience of having had a glimpse into this world, a world that is often hidden from public view.
This artwork is centered around the concept of humanizing incarcerated individuals, showcasing the complexity and humanity of those who are often overlooked in society. My goal is to create thought-provoking artwork that encourages dialogue around the issues facing those who are incarcerated. By creating this artwork, I hope to encourage a greater understanding of the prison system and the struggles faced by inmates, particularly those with mental health issues.
What were you like growing up?
Growing up, I was a quirky and unique child. As a bicultural kid, I had a unique perspective on the world. However, it wasn’t always easy. When I was ten years old, my family moved from Ohio to Venezuela, where I began to navigate a new culture. My cousins in Venezuela would sometimes pick on me for not speaking Spanish or being too gringo.
But I didn’t let that discourage me. In fact, it motivated me to learn the language, and by the age of 12, I was speaking Spanish fluently. In terms of interests, I was drawn to a wide range of topics, from art, history and politics to science and technology. As a person, I’ve always been empathetic and compassionate, with a strong desire to help others. I believe this is what has led me down the path of creating artwork that seeks to bridge the gap between individuals – especially those with experiences as mine.
I sometimes find it ironic that I ended up pursuing a BA in Literature in Spanish, considering that I learned Spanish only after the age of 10. However, I believe this choice reflects my love for the language and the culture that I had come to embrace as my own.
I remember feeling a strong connection to both my American and Venezuelan roots but also experiencing moments of teasing for being the odd or queer kid. My cousins often picked on me, likely due to the fact that I wore pink onesie pajamas and hugged them a lot, which was seen as odd in their very machista culture. I also remember being the queer kid that spent hours playing in my room with wax and being fascinated by the sensation it produced in my skin, or was so nerdy that I would hand in unnecessarily long research projects for my high school classes.
Despite the challenges, these experiences helped shape my personality and interests. I developed a strong sense of creativity and an appreciation for multiculturalism. It taught me to embrace diversity and to always be true to myself. Looking back, I realize that my experiences growing up have shaped who I am today – a resilient and adaptable individual who isn’t afraid to be themselves.
Contact Info:
- Website: https://www.juanherrera.art/
- Instagram: https://www.instagram.com/juanherreraart/
- Linkedin: https://www.linkedin.com/in/juancarlosherreraart/
Image Credits
Portrait by Justin Serulneck
All other photos Copyright – Juan Herrera
