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Visual AIDS artist member Sean Paul Gallegos is a busy man. He recently completed the Artist in the Marketplace (AIM) program, which includes work being featured in "Bronx Calling" exhibition at the Bronx Museum, and he has two pieces in the Cue Art foundation’s exhibition "Goddess Clap Back: Hip-Hop Feminism in Art". Amid all the action, Gallegos had time to answer a few questions about the AIM program, his creative practice and how he views people seeing his work.
Visual AIDS: You are part of the second AIM Biennial at the Bronx Museum. Can
you tell me about your work in the exhibition?
The work in the second AIM
Biennial is second in a series called "The EthnoCulutral Portrait
Series". It is a triptych comprising of two photographs and a
sculpture. The photographs are a 6.5" x 8" in. tintype and
24" x 36" in. cotton rag photo. The sculptural icons are created from
discarded materials. I research the pose and backdrops from turn of the century
ethnographers such as Edward Curtis recreating his staged photographs of Native
American culture.
First I create the sculpture, then I paint the backdrops and costumes around them. Next are the self-portrait test shots. From there I transport the backdrop, sculpture and costume to Louis Riso's studio in New Rochelle for the tintype and medium format photographs. The photographs are comparative in nature. Shedding light on the questions of what we see and what is created by the camera and medium. This series is in response to my identity and the questioning of it.
Visual AIDS: What it was like to be in the AIM program?
What did you learn from AIM that you could share with other artists?
The
AIM program was, as any experience, two-fold. There was a take away from every
class and it has enhanced my career already. I was one of a handful of
participants with no MFA, which took me awhile to prove that I was supposed to
be there. Some courses were highly academic and others had practical gallery
knowledge. I am grateful to have been chosen.
The experience to have dialogue and feedback from other artist working hard was amazing. The artist in my group of 13 all have the drive to want something more from their career and are doing multiple jobs in the art field while still creating their own work.
AIM made me tell and ask myself all these things: When does your art become your job? Make a choice and work harder than you ever imagined. Become the web and graphic designers, social media marketers, sales people, on top of being the artist. How bad do want to be doing what you love?
Visual AIDS: Your piece Weapons of Mass Consumption is
part of the exhibition Goddess Clap Back: Hip-Hop in Art curated by
Katie Cercone at the CUE ART Foundation. In the curator’s essay your work
is introduced right after this sentence: “Hip Hop is ancestor worship of an
incipient warrior culture within an eroding white patriarchal capitalist milieu
that disrespects women out of fear and awe. Enter Sean Paul Gallegos's Weapons
of Mass Consumption (2012)." How does it feel to have your work
contextualized in such an interesting way?
I have to admit I had not yet read this....I tend to let
people make their own opinions about my work. I have mine and if I have done my
job then they will have theirs. It is amazing though how concepts or theologies
can overlap.
For me these pieces are about bullying on the block, gender
stereotypes and how much of a weak, scared person it takes to use a gun. Be a
man, be a warrior.
Visual AIDS: In your work you deal with consumer culture,
ideas of worship, and ancestry. I wonder if one could also see ideas and issues
around HIV and health in your work as well. Is HIV something that is an
explicit part of your work and your process?
Not at all, it is part of who I am, not the singular label. I see HIV from the
population control point of view. A weapon created by the elite. It is a
way to distract me from my purpose in this lifetime.
Visual AIDS: Is there a relationship between
your sculptures, prints and performance work?
All of the work at this point has a performative quality
whether it is the ritual of creating, the practice of using the object or being photographed or performing in it.
Visual AIDS: An important theme throughout your work is
deconstruction. If you were able to deconstruct one thing to improve the world,
what would it be?
Fear- I would deconstruct it into love and insecurity.
Process the insecurity by creating pride and temper it with love.
"Sanctifying the discarded through transformation" this is how I like
to refer to my work as of late.
To learn more about Sean Paul and his work, visit: www.seanpaulgallegos.com