Cicano Art : 1992-1995

 

Chicano Art and a Spiritual Quest in Self-Discovery

1992-1995  Juan D. Estrada (John Zender)

During the 1990s, I created many murals in ethnically diverse communities, including Asian, African-American, Central American, and others.  Through these experiences, I learned how symbolism can be used to tell a story and how a group can unite behind a shared experience.  It also caused me to question my own identity, as I had previously been more connected to the hip-hop movement.  This led me to study the work of Chicano Artists, who explored their personal experiences with culture, displacement, and family life through bold, brightly-colored images of religion, cars, masks, and ancient relics.  Since 1992, I have incorporated some of these techniques into my work.  

I started painting images of myself while gazing at an ancient Aztec mask and questioning my identity with the question, "who am I?".  Despite being born Mexican American, I grew up as a nomad due to the early demise of both my parents.  As a result, I learned to assimilate into a diverse array of cultures in Los Angeles.  I learned many things from different cultures and tried to absorb as much as possible.  

This may be one of the reasons why I changed in artistic style so many times.  I started exploring the concept of Spirituality and trying to blend it with my cultural background.  Instead of viewing the Aztec culture as a belief in multiple gods, I saw it as an indigenous philosophy emphasizing the interconnectedness between individuals and the environment, striving to become one with the universe.

Although I was only partially confident in my painting techniques, I dedicated much time to exploring them.  To add significance to my work, I often incorporated text or biblical scriptures, using layers of color to push the text to the background. 

When creating other paintings, I utilize oil pastels, spray paint, and add texture to the canvas.  Before starting an image, I often spend months creating multiple paper sketches and ultimately choose one or two to turn into a finished work.

 In my work, I incorporated a lot of symbolism that I learned from my time in prison.  Surrealism, particularly Salvador Dali's work, strongly influenced me.  Thorns symbolized trials and tribulations, flames represented troubles, and sharp blades or knives conveyed learning experiences.  As I developed my style, these symbols became more abstract, but their meanings remained unchanged.

In 1994 and 95, I started to embrace biblical Christianity as I felt like I had already explored all the topics related to my own life through my paintings.  Thus, I broadened my perspective and included more universal subject matters.

In the past, I have kept my public art and personal paintings separate.  Public art was a collaborative effort with the community, while my images expressed my ideas and beliefs.

I used to alternate between exploring Spirituality and culture in my paintings.  Occasionally, I incorporated Mexican heroes like Zapata or the styles of painters like Siqueiros or Orozco.  However, if my work looked too much like my murals, I would be unsatisfied and change it.  I wanted to explore something unique and different from other Chicano painters.