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Life & Work with Roberto Benavidez

Today we’d like to introduce you to Roberto Benavidez.

Hi Roberto, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
I always found myself drawn to the visual arts but I grew up in rural South Texas. With no opportunity to an education in the visual arts, I ended up finding my artistic release in acting, ultimately getting a fine arts acting degree.

After college I had some moderate acting success but realized that since I was no longer in school the only time I was acting was when I booked a job – I wasn’t taking classes or trying to get better. I just had no passion for it when I wasn’t in it. But one thing I was doing every day was sculpting. It was then (in 2000) that I decided to move from Austin to Los Angeles to pursue a career in the visual arts. Having friends with jobs in the arts I learned from them that these types of jobs can drain your creative energy so I decided to get a corporate job and build my art practice in my free time. Because of my limited free time, my practice was very slow to get started. I began taking night classes at Pasadena City College to get better acquainted with techniques and materials. I ended up focusing on bronze casting but once I was no longer eligible to take classes, I quickly realized how expensive this medium can be. It really put a damper on my productivity until one day in 2009 I can across a piñata online that someone made for their kid’s birthday party. Something about their piñata spoke to me and made me realize that this medium could be taken in lots of different directions – and it was affordable.

After making my first piñata, I feel in love with the medium. It also gave me a sense of security in that I wouldn’t ever feel financial separated from my practice like I did with bronze sculpting. In 2014 I left my corporate job and became a full-time artist, building my piñata sculptural practice. Having my practice as my full-time focus, I was able to build a larger body of work and started getting some recognition from art publications. This was all mainly due to the reach artists now have with social media sites like Instagram. While finding a dealer has remained elusive I have shown in museums across the US in both group and solo exhibitions and have been invited to exhibit at a number of art galleries as well.

Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Not having an art degree has been a setback when attempting to pursue representation or when attracting art collectors. Also, not having gone to art school I don’t have those social networks that ones build while studying. But in the end, just making the work and sharing it is very fulfilling for me so that is what I focus on.

Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I specialize in the piñata technique. I am best know for my Hieronymus Bosch and Medieval Manuscript Creature piñatas. I developed my own serrated crepe paper fringe technique that gives my works a signature look.

Most recently I had some of my work featured in AMC’s Interview with the Vampire finale, and this past October my work was on the cover of The New York Times’ Fine Arts & Exhibits Special Section, but I am most proud of the relationships with curators and museum professionals I have been able to make over the years and for the exhibitions that we have been able to put together to best reflect what I do.

Let’s talk about our city – what do you love? What do you not love?
The resources of LA are immense. Everything that tours come to LA. It’s a great place to be to have access to the arts being celebrated today. AND THE FOOD!!!

That being said the vast expanse that is LA makes it difficult to just get out and do things at your leisure. The time of travel and cost of parking and events makes it somewhat unobtainable for all. You have to pick and choose what you give your time and money to.

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Roberto Benavidez

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