Juxtapoz Journal – Interview: Getting Into Perspective with Painter Gina M. Contreras


Secrets and techniques are advanced—all people has one, however no person would wish to be one. San Francisco-based artist Gina M. Contreras usually suspects that she often is the proverbial secret lover, bearing herself and her difficult feelings round this standing in her newest solo exhibition Amor Secreto at Hashimoto Up to date San Francisco. Earlier than all her work have been even completed, she spoke with the gallery’s Katherine Hamilton about this new physique of work, why being so susceptible is a power, and she or he unfurls a number of hidden meanings behind repeated symbols and patterns.

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Katherine Hamilton: The exhibition’s title is Amor Secreto, making a narrative by way of line between the work about your standing as a secret romantic lover—or at the very least, the sensation of being one. Are you able to say extra about how you might be navigating this deeply emotional theme, depicting your self and each actual and imagined companions in these scenes?
Gina M. Contreras: Amor Secreto actually delves into the nuances of intimacy and emotional vulnerability by way of my work. This theme of being a “secret romantic lover” resonates deeply with me, each personally and artistically.

In navigating this theme, I method every bit with a mix of private reflection and imaginative exploration. The work usually draw from my very own experiences, capturing moments of ardour, longing, and the bittersweet nature of unstated or hidden connections. By intertwining actual and imagined companions in these scenes, I purpose to discover the complexity of affection that exists in an area between actuality and fantasy.

The depiction of those relationships is deliberately layered and nuanced. In some works, you would possibly see direct references to non-public encounters or emotions which were vital to me. In others, the characters and situations are extra symbolic, representing patterns or feelings reasonably than particular people.

The temper of the language you created for the exhibition is so completely different from that of your final solo exhibition Continued Consolation at Stephanie Chefas tasks in Portland, Oregon. Do you’re feeling such as you’ve modified the way you wish to body your work, or does this tonal shift lend itself extra to the emotional shift of the work?
My work are extraordinarily private, reflecting my nature as somebody who wears my coronary heart on my sleeve. Continued Consolation was about discovering solace throughout a time of emotional want, specializing in the lack of a beloved one reasonably than the lack of a lover. The tonal shift you see in my work now’s extra concerning the emotional journey I am on reasonably than a change in how I wish to body my work.

As you talked about, the work you make is deeply private. Not solely in the way you depict your self and the relationships you’re in, however that you simply add components out of your bed room into the portray—you reveal your self and your area. The vulnerability offers the artworks a lot energy, however I additionally marvel: do you ever fear about revealing a lot of your self within the work?
I feel that as a result of I’m at all times portray myself nude, I’m already laying all the pieces naked. This openness in my work means I don’t fear about oversharing.

Gina M Contreras A True Friend Desires Our Good 2024

In an interview with Southern Publicity final yr you spoke about having a crude humorousness that always comes out within the titles of the work. The works on this exhibition really feel pensive, susceptible, and possibly severe. Is that this an apt characterization to make about your new work, or do you’re feeling like your humorousness is within the work in methods I possibly haven’t seen? How do you’re feeling your humorousness reveals up in your work now?
This sequence would possibly come throughout as extra pensive and fewer susceptible, however I by no means cover my humorousness. For example, the title Gina La Cochina comes from a nickname I used to be given after I was little or no. It interprets to “Gina the soiled one,” and it was given to me solely as a result of it rhymes. Now, utilizing it as a title, I’m enjoying with the that means behind the nickname. As an grownup, it takes on a unique, extra becoming that means. Humor is at all times going to be current in my work, whether or not it’s refined or apparent. It’s a necessary a part of how I categorical myself and join with the viewer.

You additionally emphasize the inclusion of patterns on this physique of labor. Weak Surfaces, for instance, reveals three sorts of floral patterns, which, if I keep in mind appropriately, are all linked to your loved ones and heritage. Are you able to say extra concerning the significance of those patterns in your work and your private life?
The patterns I exploit in Weak Floor are very private as they arrive from materials I personal or have encountered. The pillowcase, for instance, is an precise one from my childhood that got here from Mexico. The blanket within the portray is my interpretation of the patterns on my mom’s kitchen curtains, and the mattress cowl material is predicated on a reminiscence of a rug from an property sale. These things are vital to me as a result of they’re acquainted and convey me consolation, in addition to stylistic pleasure. They’re too fairly to not paint, and their presence provides a layer of intimacy to the work.

You additionally play with perspective so much in your works, flattening the backgrounds to be almost on the identical aircraft because the foreground, and orienting the objects and topics within the portray from completely different angles. The place do you assume you draw this multi-perspectival type from? Was it intentional or one thing you seen after the very fact?
I do take pleasure in enjoying with perspective, and I imagine it’s linked to how I relate to the areas round me, particularly since all of those works are created in my condo. The multi-perspectival type is intentional—it displays the fusion and eccentric mixture of my very own studio area. The angle in my work actually comes from whether or not I’m sitting on the sting of my mattress or at my chair, as I’m continuously shifting whereas portray. This type, together with the layering of foreground, center, and background, is knowledgeable by display printing strategies. The background seems flat as a result of my purpose is to carry the objects and their significance to the forefront.

I’m additionally curious since you’ve talked about that Remedios Varo is considered one of your favourite painters, and the affect of that free group of feminine Mexican Surrealist painters on you could be very evident. Whose work do you usually look to for inspiration?
I’m a giant fan of pictures, and a few of my inspiration comes from photographers like Laura Aguilar, Louis Carlos Bernal, Larry Sultan, and Nan Goldin. What I like about their work is how they seize an essence of vulnerability within the areas they occupy. This sense of openness and rawness resonates with me and influences how I method my very own work, reflecting the same emotional depth and connection to non-public area.

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Lastly, for the reason that exhibition revolves round secrets and techniques and secret love, I needed to know if there are any secrets and techniques you wish to reveal concerning the works—the titles, the small votives, the situationships?
I want to maintain my secrets and techniques to myself. After I’m able to reveal one thing, you may see it in my work. I’m not a tease; if one thing is supposed to be shared, I’ll categorical it by way of my artwork.

Amor Secreto is on view by way of September twenty eighth at Hashimoto Up to date San Francisco. Opening evening images by Genevieve Parker, set up photos by Shaun Roberts.



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