Download Art Encounter: Eddie Rodolfo Aparicio Studio Visit Lagu MP3 Dan Video MP4
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Watch more videos on our related Museum Playlists:
Art Encounter: https://bit.ly/ArtEncounter
Plugged-In Virtual Connections: http://bit.ly/Plugged-In_VirtualConnections
Los Angeles-based artist Eddie Aparicio records the surfaces of local trees, especially in Latinx communities; drawing inspiration from the history of materialities and inherited ways of making, he engages his El Salvadorian cultural background in his artistic exploration of the rubber tree. His research focuses on the various connections between Central America and Los Angeles. Aparicio believes that focusing on multiple sites as a part of the same community and history is a crucial de-colonizing strategy and problematizes the term native.
My work addresses immigration by default, but he is more interested in the possibilities of an expanded understanding of identity and place making. Our history is being erased and I feel an urgency to reclaim the narrative of the Latinx identity in the US and abroad. This erasure refers to the complex colonial underpinnings of our contemporary crises and to the importance of our cultural, technological, and economic contributions to the world. I use materials that have a strong tie to pre-hispanic cultures in Central America to document Central American communities in Los Angeles. The rubber works in the “Caucho” series are made from the sap of one non-native tree capturing the surface of another non-native species in a community of non-native people—all of which have become rooted and integral to the very essence of those multiple sites.
This work explores the visual and conceptual possibilities of globally ubiquitous raw materials and products of indigenous knowledge of Latin America. In recent years, I have produced large scale rubber casts that document the social and economic relationships between Latin America and the United States through specific use of material, multiplicity of site and metaphorical gesture.
My work utilizes formal strategies within a primarily materialist practice because colonial injustices have not only been directed towards humans. Environmental justice is inextricably linked to social justice and allowing material to be a collaborator in the works acknowledges it as a part of its own narrative. Perhaps the clearest way to follow the traces and branches of colonialism and historical oppression is to first claim total material non-neutrality. There is no neutral position within an ecological understanding of the world where environmental justice is inextricably linked to social justice and all materials in art making (especially our bodies) are part of that conversation.
About art educational programming:
Art Encounter and Plugged-In Virtual Connection videos are used to inspire art activities in our K-12 art education program, Plugged-In Virtual Connections. The Museum selects artist for this studio visit series that This program is funded by the RuMBa Foundation of Long Beach.
All images Copryright Eddie Rodolfo Aparicio
Courtesy Eddie Rodolpho Aparicio
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