Artistry In Motion
Artistry in Motion: Jacqui Martinez
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| Jacqui Martinez at work, photo taken by Dylan Cohen |
By Evan Jackson
Jacqui Martinez is an artist in the truest form. She is a painter, visual artist, set designer
and educator currently attending NYU Steinhardt’s Master’s program for Art
Education. Her uncut artistic style manages to give you a feel of the new with
the flavor of the old school. Her angst and love is fluent throughout her work. Jacqui’s paintings range from old world to contemporary
with an influence of her Honduran heritage and her love of the Hip Hop
culture. She always seems to be on the go; whether it’s teaching art/theater workshops
in Arusha Tanzania, being an art educator in her community or taking adventures
around the world that inspire her artwork. Where will Jacqui take flight next?
I don’t know and you probably won’t know either, but the strength and the
passion in her artistry will remain intact.
Which artists inspired
you to become an artist?
A person that inspired me as an artist is Frida Kahlo. I did
research on her in high school and I was really drawn to her work. As I looked
further into it, I was inspired by what she represented: An artist who truly
and literally healed through art. Her work is unapologetic, raw, and amazing. Also
it takes serious courage to paint a self-portrait, something I still haven’t
done. Frida practiced that all the time. Justin Bua is one of my favorite technical
painters. I like the exaggerations of his art and the content of his work. I have
a love hate relationship with Picasso, but admire the path he’s paved They all
have taught me staying true to yourself is the only real way not to compromise
your soul.
When do you feel like
you came into your own as an artist and how did you develop your artistic
style?
I would say experimentation and allowing myself to be
influenced by everything around me. I love to surround myself by creative
atmospheres, whether its theater or a concert, a museum or even coloring with
children.
My work is influenced by graffiti too. Graffiti is the epitome
of exaggeration and bold art. Coming from a movement that has created a culture
of incredible thinkers and artists: Hip Hop. I’m a fan. You develop your style
by committing to your work. I would find myself in a zone painting for ten hours
straight and not noticing until my back would give out and my vision was
blurred. You do find yourself as an artist getting stuck in your style and that
is problematic at times. At that point you’re not evolving because you’re too
attached and not objective about your art. Sometimes you need to start all over on a
piece of work. Sometimes you’ll have to take risks. I love painting faces and twisting the most
beautiful features. I paint subjects that also address the current states of
our communities in a political, cultural, and spiritual platform.
How does your
experience as an educator influence your artwork?
The reason why I love working with the youth is because I
feel they are closer to the truth and are more open. It’s such a give-give relationship. They
would create artwork and I would show them mine, and to feed off of energy that
has honest reciprocation is golden. The
current day art curriculums are very basic, especially in low income areas. I
would see art programs get shut down across the country while prisons were getting
built. They’re firing art teachers because the lack of investment.
What I do as an art
educator is critically dive into topics and encourage creative solutions. My
curriculum incorporates her/history, ancestry, Hip Hop, poetry, theater,
amongst other creative mediums. I have gotten my curriculum shut down before
and push back from administrations, but I always fight for the side of the
student. Anything that benefits them, I’ll always fight for. I also feel there
are not enough practicing artists teaching art. If you’re an artist you have to
practice your craft every day in order to teach it with mastery or you’re
cheating the student.
So now I attend NYU Steinhardt’s Master program for Art
Education and Community Practice. Most of the program is based on the
strategies to improve social justice inside and outside the institutional
framework.
Your hard work as a
set designer came full circle when you along with the ensemble to Evren
Odcikin’s play The Oldest Profession got nominated by Bay Area Theatre Critics
for Best Ensemble and Best Specialty. Visually how did come up with the set
design?
It is a collaborative process and working with Evren was
great because he articulates his vision so well! I learned a lot in working with
a great team. We first read the play, then share thoughts, read again, share
more, execute and make things happen. Through the process, I would share my
ideas on the set design and then implement them. You don’t only have to think creatively, but
be creative in how you communicate with the director. The designer’s
responsibility is to take the vision of the director and creatively find the execution
by also including your input.
Evren wanted a set that was seamless and with the right
mood. Veaudville New York. I was able to design and build the set. One of my
favorite plays I’ve worked on.
You seem to be a
global citizen of the world. Anywhere you go, whether it is doing art/theater
workshops in Arusha Tanzania or Mexico you fit right into the culture. Why do
you think that’s the case?
I wouldn’t say I necessarily fit in but I understand my
privilege. I have to be humble as I can be when I visit new places. I have to
attribute my humbleness to how my parents raised me. You have to be respectful
of cultures when you travel and also be engaging with the people. I have a real
love for the work and maybe people pick up on it and maybe they don’t but my
responsibility is to share, show love and respect everything. When you travel
you have to also be open for things to
change. Changing is a must when you’re elevated.
What are some places
around the world that has had the biggest impact on you not only as an artist
but a person?
Mexico had the most impact on me out of all the places I’ve
travelled. I had driven through Mexico and it would take me two weeks to get to
Honduras, home. So I never have really known Mexico. There was a Moonaguas
collective, an organized trip I was a part of, and we stopped at a shelter for
immigrants who were traveling north, most of them from Honduras. Some of these
people in the shelter had traveled for miles on end from their home to come to
the United States for a better life. I met a young man, who had traveled by
foot. His feet were beaten up and bloodied. He couldn’t walk. He told me though,
if that train, the beast, comes he has
to run to get on it. He was desperate and passionate. That experience hit home
for me and made me realize that this border was created to kill and divide
people. Keep different people out. Keep the people with less opportunities out.
My parents made that journey so I can be here, be an artist. That trip changed
my art, my approach to teaching and me.
Arusha, Tanzania also changed the kind of womyn I am
becoming. I was humbled and spiritually transformed. I was hosted by the United
African Alliance Community Center where I was able to teach art, theater and
some Spanish. The founders are Pete O’Neal and Charlotte O’Neal who are
incredible people that have created an amazing community in Arusha.
What are your future
aspirations?
I want to continue to
travel and understand the culture of travel to enhance perspective. I also want
to open an art school one day. It would provide tools of consciousness. I want to include professionals, artists and
educators to teach themes and subjects that highlight the strengths of the
arts. My goals are always evolving.
Where can people
reach you and see your artwork?
People can reach me and take a look at my work on my website.
You can also keep up to date with all my adventures through Instagram.
follow me @jacquiwar
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| Jacqui Martinez at Mount Meru in Tanzania Arusha |
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| Jacqui Martinez at the United African Alliance Community Center |
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