Help support Presa House Gallery exhibitions and programming by purchasing our NEW Official T-Shirt designed by Alexandria Canchola. The limited-edition tees feature illustrations of artwork by Jose Villalobos, Alejandro Macias, Eva Marengo Sanchez, and Cande Aguilar. T-Shirts are available in WOMEN SIZES ONLY for $20.00 plus tax at the gallery or online with an additional $6.00 for shipping. Available in XL, L, M, S, and XS sizes.
San Antonio Current / James Courtney
Opening on First Friday and on view throughout April, Presa House’s latest exhibit, whether intentionally or not, pairs perfectly with this month’s primary preoccupation for much of San Antonio: Fiesta. Featuring work from rising South Texas artist Cande Aguilar, the solo show is called “barrioPOP.”
Over the top, inescapably engaging, low-brow, gorgeous, and poignant in turns, the bright and complex works in barrioPOP feel as relevant to San Anto as they are to the Brownsville borderlands that Aguilar hails from. More than just the title of this particular exhibition, barrioPOP is a “distinctive artistic style” focused on “creating vibrant works that combine graffiti art, pop culture and street phenomena deeply influenced by South Texas border culture.”
This opening reception features beats by DJ Electric Messiah (aka Roy Garza) and a performance by local artist Jacinto Guevara.
Free, Fri Apr 6, 6-11pm, Presa House Gallery, 725 S. Presa St., (210) 913-5842, presahouse.com.
San Antonio Current / Bryan Rindfuss
Despite its melancholy overtones and references to “bad memories” and a relationship that never was, the dreary Smiths classic “Back to the Old House” feels like a timely theme right now for Presa House Gallery, an artist-run space
about to wrap up a memorable yet complicated year. Launched in October of 2016 by local artists Rigoberto Luna and Jenelle Esparza in a charming Southtown house previously occupied by Roland “Nightrocker” Fuentes’ R Gallery (where Luna served as curator), Presa House first caught our attention early on with “November Spawned a Moz Show,” a group exhibition organized in anticipation of a Morrissey concert which — in typical Moz fashion — quickly sold out … only to get postponed, rescheduled and ultimately canceled. In addition to representing South Texas’ undying love for The Smiths and Morrissey (even when he doesn’t show up), the show proved the gallery as a promising newcomer with a professional attitude, a laid-back vibe and a firm handle on various factions of the San Antonio art scene.
In the months that followed, the gallery won over fans with a unique curatorial slant that took shape in well-received shows like “Borderwavve” (which explored “a new aesthetic of abstraction and border culture” through the eyes of Texas-based artists Gerardo Arellano, Jorge Puron, Aldo Fabian Ramos and Cande Aguilar) and “Sex, Race, Science” (a retrospective of wide-ranging works by Rolando Briseño that came complete with a community dinner inspired by the revered local artist’s vibrant tablescapes).
Then, in August of this year, less than a month after unveiling provocative solo shows by accomplished locals Ed Saavedra (“The Price of Free Dumb”) and Albert Alvarez (“Don’t Be My Judas”), Presa House somewhat suddenly announced it would be departing its quaint digs to stage a series of pop-up exhibitions — the first being a pair of Fotoseptiembre shows (Rebecca Dietz’s “Chimeric Daydreams & Aperol Suns” and Melanie Rush-Davis’ “Road Trip”) that were originally destined for the old house but instead landed at 112 Blue Star, a space best remembered as the former Joan Grona Gallery. Following that switcheroo, Presa House popped up at FL!GHT Gallery to present local artist Jimmy James Canales’ fascinating solo endeavor “Para Chrome” and Houston-based Ángel Lartigue’s enigmatic offering “La Ciencia Avanza Pero Yo No.”
Although Luna explained the departure was part of a planned effort to explore other opportunities and collaborate with various contemporary art spaces around town, complications surrounding a sub-lease agreement clearly contributed to the situation. During the gallery’s nomadic excursion, Luna and Esparza made efforts to virtually “cut and paste” the homey aesthetic and familiar dynamic of Presa House into the spaces that hosted them, but the results admittedly felt “totally different.” While consideration went into possibly taking up permanent residence at 112 Blue Star, Luna found it lacked the intimacy of the house on Presa. Citing both the gallery’s layout and the foot traffic First Friday brings to Blue Star, Luna says he didn’t even know certain people were present amid the bustling crowd that filled the space. Since
Luna knew the lease for the house on Presa was coming up for renewal, he and Esparza expressed interest in taking it over and announced via social media on November 15 that they’d successfully secured it. “We enjoyed our last three months traveling our exhibitions throughout the Blue Star Arts Complex as a part of the Presa House Pop Up Series. The time allowed us to weigh our options and give careful consideration to the future of the gallery. Today we’re happy to announce our lease agreement goes into effect as we officially return to the house on Presa.”
When asked about the takeaway from the experience, Luna was quick to point out how impressed he was by the amount of support he received from the art community (in both Southtown and the Lone Star district) while looking to secure spaces. “It was neat to see all these people who believed in what we’re doing,” Luna told the Current.
For what’s sure to be a lively welcome home celebration, Presa House will open its doors anew on December 1 for a First Friday reception featuring a one-night-only performance by interdisciplinary artist and educator Mark McCoin and the UTSA New Media Collective. Then, on December 16, the gallery will host the first San Antonio exhibition of works by Benjie Escobar, a multimedia California artist who draws inspiration from “his childhood in Pomona, lowrider culture, graffiti, raves, streetwear, 1990s culture, typography, professional design and illustration … all tinged with a bit of snarky humor.” Luna says he plans to pair Escobar with local artists Sabrina Alfaro (Xingona Prints) and Gilbert Martinez (Forreal Art) and round out the opening reception with vendors offering handcrafted items.
Glasstire / David S. Rubin
Borderwavve, the current exhibition at San Antonio’s Presa House Gallery, features abstract paintings and assemblage works by four Texas-based artists who have strong ties to the Texas/Mexico border. Three of the artists, Gerardo Arellano, Jorge Puron, and Aldo Fabian Ramos, were born in Mexico, while the fourth, Cande Aguilar, hails from nearby Brownsville. According to the show’s premise, works by these artists reveal “a new aesthetic of abstraction and border culture that draws upon the artists’ bi-cultural identity. The phrase (‘Borderwavve’) connotes a constant state of deconstructing and rebuilding connections between traditional and modern Mexican and American customs.”
The current SATX/MX exhibition at the Centro de Artes also showcases works by artists living in the cultural gray zone between Texas and Mexico, but is devoid of abstract painting. Borderwavve, in contrast, calls attention to apolitical means through which artists influenced by their bicultural identities express themselves. For the most part, rather than work with easily identifiable and often loaded imagery, the Borderwavve artists express their ideas and feelings more in code, something that is inherent to the language of abstraction as it has been employed to a large extent since the early 20th century, along the lines of Kandinsky, Malevich, and Mondrian. Abstract artists have a greater challenge if they intend to communicate anything beyond emotional content to viewers. The artists in Borderwavve haven’t introduced a whole new aesthetic (with the possible exception of Aguilar, who uses found materials that could be associated with Mexican culture), or told us much about their identities. But they have offered up some beautiful works of art that demand our attention because they are skillfully crafted, formally resolved, and visually engaging.
While all of these artists use Abstract Expressionist foundations, the one who appears the most tied to the movement’s tradition is Austin-based Gerardo Arellano, represented here with a number of landscapes. Constructed using a vocabulary of fluid organic shapes (some of which bring to mind Terry Winters’ abstractions of the ’80s), Arellano’s most inspired paintings are those that respond to the environmental and cultural characteristics of a place that have little to do with his Mexican origins. Painted while Arellano lived in Seattle in 2011, Ciudad de Lluvia (City of Rain) and Seattle bustle with energy in the form of raindrop patterns interspersed with rhythmic swirls and undulations that can be felt beyond the paintings’ borders. In the former, Arellano uses a soft palette and thin washes to (effectively) romanticize the temperament of a rainy day—a subject that is not so culture-specific. In the latter, he abandons gestural brushwork in favor of flatter shapes that refer to the mountains and pine trees of the Pacific Northwest, while also paying homage to Seattle’s thriving music and comic-book scenes through the use of bold, clashing colors. According to the artist, the cartoonish figures with stars for eyeballs are influenced by the Beatles’ animated movie, Yellow Submarine.
Jorge Puron has been exhibiting in San Antonio since the late ’90s, and for many years he was a predictable practitioner of conventional, thickly painted gestural abstractions. This all changed in 2014 when, to his credit, he recognized the limitations of his Abstract Expressionist approach and veered in the opposite direction, by adopting a gesture-free geometric vocabulary that has enabled him to focus more on structure than on emotional content. Specifically, Puron has been painting elegant geometric abstractions based on cultural objects familiar to both Mexican and American practices, as well as on personal memories of his early life in Piedras Negras, Mexico. The image source for Vector #3 (2015) is a television set on a table, but we don’t need to know this in order to appreciate the beauty of the painting. As a hybrid of compositions pioneered by historical figures such as Josef Albers and Victor Vasarely, it is optically alive with a dazzling interplay of shapes and colors. In other works, such as the more complex Casa Matriz #6: El Sediento (2016), which was inspired by memories of a grocery store where the artist worked as a child, Puron demonstrates his adeptness at creating contradictory spatial relationships that keep our eyes moving throughout the painting as if we are traveling virtually through the corridors of a maze. This particular painting carries a sense of intrigue; some of the images within hint that there’s more to what we are looking at than pure geometry. In the same way we decode a Cubist work by Picasso, we can decipher the face of a thirsty delivery man at upper left, and recognize a glass of water on a table at lower right.
Although San Antonio’s Aldo Fabian Ramos and Brownsville’s Cande Aguilar have each contributed more typical gestural abstractions to Borderwavve, their more interesting works are also those that lie outside the realm of Abstract Expressionist conventions. In fact, both artists achieve their finest moments when exploring personal symbols and metaphors. Constructed mostly from triangles, the central emblematic image in Ramos’s Geo (2012) resembles a precious stone, which for the artist represents a sacred heart—an expression of eternal love that he has connected to a celestial blue universe using a system of expansive lines. From a purely aesthetic standpoint, the image seems filled with energy that could propel it forward into the viewer’s space. In Ramos’ small triptych Almas (Souls) (2014), the animated movements of geometric patterns and linear matrices allude to interconnectivity and the invisible matter that makes up the human spirit.
Of the four artists in the exhibition, it’s Cande Aguilar—the only one born in the United States—who’s showing art that immediately brings to mind associations with Mexican culture. This isn’t discerned through his abstract paintings, but rather in his found-object assemblages from a series that he calls ‘barrioPOP.’ In Confetti in a Bag (2016) and a recent untitled work, Aguilar uses confetti and balloons, materials commonly associated with fiestas, to express his feelings of fear and disgust over Trump’s rhetorical assault on Mexican Americans. Bagging the confetti refers to oppression, by containing the happiness and freedoms that are inherent to acts of celebration. Attaching deflated balloons to a paper gun target conveys the emotional exasperation felt by Aguilar over Trump’s alliances with the NRA and its gun-toting followers.
The exhibition continues at Presa House Gallery through December 23.