Paris and Helen
An interview with artist Diego
Romero by Sharon Warwick, a high school art teacher at Winfree Academy in Denton, Texas.
Diego Romero, an artist
self-described as “a chronologist of the absurdity of human nature,” has made a
life’s work of constructing ceramic vessels that elevate Pueblo Indian life to
the highest stature. He is a third generation artist who was born and
raised in Berkeley, California, to a father from Cochiti Pueblo in New Mexico and
a non-Native mother.
Romero at the 2013 Indian Market in Santa Fe. He sees Wonder Woman as an earth goddess.
After graduating from high school,
Romero attended the Institute of American Indian Arts (IAIA) in Santa Fe, New
Mexico. (IAIA is the only four-year degree fine arts
institution in the nation devoted to contemporary Native American and Alaska
Native arts.)
He later
attained degrees from Otis College of Art and Design (BFA) and University of
California, Los Angeles (MFA). He
now lives and works in Cochiti, New Mexico.
Manscape
Since his graduation from UCLA in
1993, Romero has developed an extensive exhibition record with artworks that
often humorously contrast historical Pueblo traditions with contemporary
notions about super heroes and comics. His work is found in significant public
collections such as the Metropolitan Museum of Art, the Cartier Foundation, the
Peabody Essex Museum, the Denver Art Museum, the Heard Museum, the British
Museum, and the Scottish National Museum.
Instead of using indigenous traditions as insulated from historical
change, Romero consciously evokes “the historic as a point of departure to
reinterpret the contemporary.” He uses
historically situated oral traditions as source material, a narrative style
related to popular culture and comic books, and a healthy regard for social
critique in his work. There is an
obvious sense of humor with a biting edge.
Two of Romero's pieces at the 2013 Indian Market in Santa Fe
Audiences and collectors find intrigue in his anti-colonial
humor and appreciate his excellent artistry and craftsmanship. He is one of a handful of potters, the
so-called Free Spirit potters, whose work takes on contemporary Pueblo reality
instead of the traditional ceramic forms that dominate the traditional Native American
art market.
In my interview with Diego Romero I found him to be both funny and philosophical. Romero’s knowledge of art and art
history and a piercing perception of the world combine in a particularly rich
fusion of cultures and worldviews.
The sense of humor in both the man and in his work comes from a positive
and clear-eyed view of humanity and its foibles and is quite evident in a video
found here.
Max
SW: How would you describe the evolution
of your work?
DR: My work began as narratives specific to
the stories of the Indian people, their real lives and the church, but it has
evolved to the more universal narrative about the nature of mankind.
SW: What are your central themes,
narratives and symbols?
DR: My
characters, the “Chongo Brothers,” are a mixture of a
lot of Native individuals, but beyond that they’re disenfranchised. They're
disjoined. They're an aboriginal people in a 20th century consumer society. The
work narrates the pitfalls and dualities of that dichotomy through stories of
urban Indian life. Since then my work
has evolved into industrial landscapes, cartoon character bottles, Gold Trophy
pieces, and Pop art icons after the style of Andy Warhol
and Roy Lichtenstein. It has become a hybrid of comic book superheroes and
Indian traditions and contemporary design today.
SW: How does your work reflect both your
knowledge of art history and your personal history?
DR: My work started out as autobiographical,
incorporating old narratives and stories from friends and family and
tradition. After I went to art
school, I approached art history like a salad bar from which to pick and choose
and mix imagery and motifs. I fuse
Greek pottery and Mimbres ceramic traditions with Pop Art iconography and comic
book style. My narrative is that of the super hero and heroine in a
contemporary mythology.
SW: What are your clay techniques and
processes?
DR: At the Institute of American Indian Arts I learned to work
with clay in the Hopi tradition from a woman who was like a grandmother to
me. We ground the clay from the
earth, used native paints to color the ware, and fired the work outside in a
pit. I like clay because it has an infinite shelf life. I like to think that my pots will be
around after the exploding and contracting of the universe in a big bang.
In art school at Otis I decided to be a contemporary potter and tossed
out the old dogma and tradition. I
still do my own chemistry of mixing clay and slips and I use the traditional
coil method with stone polish but I am free to fire in electric kilns and use
gold lusters in a no holds barred attitude. If I am going to show at Indian Market I follow the tradition
using native clays and paints, but if I am showing in a gallery or museum I may
use electric kilns or slips or lusters any way I like.
SW: How would you like young people to
understand your artwork?
DR: I like to say that I am a chronologist
on the absurdity of human nature in life. It gives me great pleasure to watch people crack up
laughing in the gallery when they are looking at my artwork. If we lose the ability to laugh, then
we lose the ability to heal.
No comments:
Post a Comment