Page 33 - WOWwART

Existential ambiguity is a central theme in
my paintings, expressed through a deliberate formal and aesthetic in-betweenness. I create the background using representational structures that establish the context and mood of each piece. This approach encourages viewers to bypass the need for literal interpretation or understanding, inviting them instead to engage with the work on a deeper, more visceral level—similar to the way one might connect with the beauty and comp- lexity of nature.
My exploration of subjects that strive for balance, without adhering to any single extreme, is deeply rooted in my personal experiences as
an immigrant living in Los Angeles. This unique position has shaped my navigation through a rich tapestry of cultures, languages, and identities. In my work, I reflect the complexities of existing between these various influences, highlighting the nuances of representation and the quest for a har- monious sense of self amidst the contradictions. Through this lens, my paintings become a space for contemplation and emotional resonance, invi- ting viewers to reflect on their own experiences of ambiguity and balance in a multifaceted world
Can you explain the significance of the tension between figuration and abstracti- on in your art? How do you balance these elements in your creations?
Tension plays a crucial role in my work, as I aim for the paintings to create a dynamic push and pull that challenges the viewer’s comfort
Carlos Beltran Arechiga masterfully blends abstraction and figuration, creating profound visual narratives that resonate deeply with the complexities of identity and belonging.
level in their interpretation. The structures within my pieces are intentionally designed from multip- le perspectives, allowing them to accommodate
a variety of organic, anthropomorphic forms that resonate with natural structures. This interplay suggests a sense of fluid freedom, yet it exists within the confines of sleek, hard-edged elements that may either complement or contradict these organic shapes.
This tension is not only thematic but also formal, reflected in my compositional choices. I often incorporate marks and textures left on the fabric from its previous uses, particularly with construction tarps that have served in projects involving the undocumented immigrant commu- nity. These remnants add layers of meaning and history to the work, creating a dialogue between the past and present. By blending these elements, I invite viewers to confront their own perceptions of comfort and discomfort, challenging them to engage with the complexities of identity, labor, and existence in a world that is often at odds with itself.
What specific resources and opportuni- ties do you seek to address through your exploration of tangible and intangible structures in your work?
I delve into the concept of structures to empha- size the significance of observation and thought- ful consideration. This exploration encompasses both societal frameworks—such as the policies and infrastructures that dictate access, representa- tion, education, and investment—and the natural structures that face degradation, particularly in the context of environmental justice.
For instance, when examining societal structu- res, I reflect on how policies can create barriers
or gateways for marginalized communities. Consider the impact of educational institutions: they can either empower individuals or reinforce existing inequities, depending on their resources and accessibility. Similarly, infrastructure projects can determine the flow of investment into specific neighbourhoods, shaping economic opportunities and community development.
On the other hand, I also focus on the decline of natural structures, such as ecosystems under threat from pollution and climate change. This decline often disproportionately affects certain sectors of the community, raising urgent questi- ons about environmental justice. For example, low-income neighbourhoods may bear the brunt of industrial waste or lack access to clean green spaces, revealing the intersection of social and environmental issues.
By examining these structures, I aim to foster a deeper awareness of how they influence our lives and the world around us. This dual perspective encourages viewers to engage critically with both the systems that govern us and the natural environments we inhabit, ultimately prompting a more nuanced understanding of their interconne- ctedness.
How do the recurring edifices in your paintings rep- resent the traditional “American Dream,” and what message are you trying to convey by disrupting this imagery with abstract markings?
The visual language I employ in designing
the structures of my paintings draws inspiration from sleek mid-century modern archetypes, which were integral to the mass deployment of advertising campaigns that promised a better life. However, it’s important to recognize that this promise often served only a select segment of society, typically defined by ethnicity and socioe- conomic status.
By echoing these aesthetic forms, I aim to critique the underlying narratives that have historically marginalized certain groups while pri- vileging others. This juxtaposition invites viewers to reflect on the complexities of aspiration and exclusion embedded within these structures.
Disrupting the status quo has always been a catalyst for change throughout human history. It is through challenging established norms
and conventions that societies can evolve and progress. In my work, I seek to engage with this idea, encouraging viewers to question not only the visual elements before them but also the broader societal frameworks they represent. By
doing so, I hope to inspire a dialogue about the possibilities for a more inclusive future—one where the promises of better living conditions and opportunities are accessible to all, regardless of their background.
In what ways do you believe your art challenges preconceived notions of a “Promised Land”? Can you provide examples from your work?
In my work, I challenge the concept of the “promised land” through subtle and often un- derstated means, which may not be immediately apparent to the viewer. As previously mentioned, many of my paintings are created on fabrics that carry the memory of the construction trade. This choice is significant because it highlights the often-overlooked contributions of workers who inhabit the shadows—those who are invisible and underrepresented despite their critical role in building the cities we inhabit.
These workers, often immigrants, face syste- mic barriers that deny them access to repre- sentation and recognition. By using materials that reflect their labour, I aim to bring their experiences and struggles into the foreground, prompting viewers to confront the disparity between the promise of prosperity and the reality faced by many.
This approach serves as a reminder of the complex layers of societal narratives surrounding labour and belonging. It invites viewers to enga- ge with the notion of the Promised Land not just as an idealized vision but as a nuanced reality that includes both aspiration and exclusion. In doing so, I hope to foster a deeper understanding of the interconnectedness of our lives and the importance of acknowledging all contributors to our society.
How do you hope viewers will respond to the dynamic visual experience you create through the interplay of gestural markings and structures in your art?
When it comes to my audience’s response, my goal is to establish formal and conceptual frameworks that provide just enough context to create a space for reflection and interpretation, regardless of the viewer’s background. I aspire for my paintings to act as mirrors, inviting viewers to engage personally with the work and to contribute to its meaning through their own experiences and perspectives.
I believe that the true success of a painting lies in its ability to evoke a change in the viewer, even if only momentarily, in their mind or heart. These fleeting moments of connection can
serve as powerful catalysts for change, igniting thoughts and emotions that linger long after
the initial viewing. I see these small triggers as significant, as they can influence one’s daily life and perceptions, ultimately fostering a broader awareness and deeper understanding of our shared human experiences. By encouraging this introspection, I hope to inspire a dialogue that extends beyond the artwork itself, prompting on- going reflection and engagement with the world.
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