Art has the power to evoke emotions and allows aesthetes to ponder the meaning behind the creations. And what makes people ponder more than arts that question and challenge the perception of society’s norm? One artist that is creating art triggered by social, cultural, and political events is Patricia Espinosa. Inspired by her mother’s passion and love for the concept of simplicity, the Mexican-born artist creates artistic works that highlight neglected issues with the use of everyday objects. Espinosa further inspires the world by working with Choose Creativity and Sing for Hope to uplift people in need through the power of art and creativity. Read our interview with Patricia Espinosa below to find out more about her artistic journey and the significance behind her thought-provoking yet captivating work.

Where are you based?
In Greenpoint, Brooklyn.

Why art? What inspired you towards that path?
I shifted towards the arts in my late 30s. I’d always enjoyed manual crafts and drawing as a child, but I was mostly inspired by my mother. She is very talented but never gave herself a chance to pursue art. She was completely devoted to her family, and one of the only gifts that she awarded herself with was buying art. And once me and my siblings were old enough, she began to paint in her free time. She enrolled both of us in painting classes, where I learned the basics of drawing, oil, and pastel painting. Getting closer to deciding for college, I remember the thrill after visiting the Academia de San Carlos in Mexico City right before finishing High School, where the big names like David Alfaro Siqueiros, Rufino Tamayo, José Clemente Orozco, and Diego Rivera studied art. I would have loved to attend San Carlos, however, as both of my parents suggested, the Arts was not a sustainable career in Mexico, and even less so for a woman.

Before getting fully involved in art, you were in Design & New Media Industries producing and directing award-winning projects for the Museum of Modern Art in New York and the United Nations. What made you decided to switch to focus solely on creating arts? How was the journey like?
I always considered art and drawing a hobby when I was growing up. Pursuing a fine arts career in Mexico wasn’t a viable option to make a living; I, therefore, chose graphic design, which I thought was somewhat related to art. I later moved to New York to earn my MFA in Design and Technology at Parsons School of Design and ended up designing and producing educational projects with substantial reach. It was through that lens, working for the educational department at MoMA and especially at the Educational Outreach department in the UN, that I realized the impact that visual communications and design had on children and communities in need.

At the same time, while working fulltime at MoMA, I enrolled at the Art Students League (ASL) of New York. I would go to drawing classes in the evenings after work with Nicki Orbach, who became my mentor. I met countless artists there, all at different career stages, many of them remain my very close friends.

My former hobby grew on me. I became a mother and began to dedicate the limited free time I had to attend more classes, learn different techniques, and in a natural and organic way, art took over my life.

I felt that art could equally empower me and my work to contribute to meaningful discussions and action. It felt very similar to my experience at the UN. Art gave me a personal connection to the kind of work I was doing at that point as a designer; I could bring it beyond clear and tangible communication, and embed my point of view. Like the late Milton Glaser reflected: “You need people who go beyond what is objective and what is logical. I suppose you have to call them artists.” I began to call myself an artist.

It is known that artists are some of the most creative people. Where do you find inspiration for your art? What is your creative process for creating an art piece?
In ordinary things and objects, while doing simple tasks. I try to be present, connect to my surroundings and the people around me. A major influence is being a mother. What keeps me awake at night is the thought of the kind of place and future I am contributing to leave for my children. What can I do? And how can simple ordinary things and actions contribute to a better life?

And it is that concept of simplicity that is behind my work. I explore the physical qualities of unconventional materials — recycled packaging, toys, and everyday household items — I remove them from their original or assigned purpose. I simplify, make subtle transformations, and create new meanings to shift preconceived associations.

Jejune learned that you spent your early years between both Mexico and Germany. How did being in two completely different cultures influence your development as an artist?
At the age of six, after two years of living in Germany, my family returned to Mexico City and my parents enrolled me in a German School, which played a major role in my personal life and development as an artist. I absorbed the disciplined process, the attention to detail, and their perseverance in completing and making things right. This of course contrasted with a vibrant, passionate, lively, and sometimes chaotic Mexican culture, so I combined the best of both. I am extremely proud of my roots. I relish the humor, the creative yet chaotic spontaneity, and ingenious resourcefulness, that Mexicans radiate. I like to think that my intuition is born there and that the German influence helps it thrive and sustain.

You’re a Mexican-born artist. Can you tell us your thoughts on being a Mexican artist in this world? Do you feel you are treated differently?
That’s funny, I’ve never been asked this question. I don’t feel I have been treated differently. There are not as many Mexican artists in New York, and probably worldwide. I know a few Mexican artists, and I haven’t heard any outstanding stories highlighting any different treatment related to our race or culture. As mentioned before, art as a career choice is not as appreciated in Mexico, which is unfortunate. If I were to think about a place that delayed the start of my career as an artist, it would sadly be Mexico. Many well-known Mexican artists had to first succeed outside of Mexico, many have similar opinions.

I recently lived again in Germany for a couple of years. Being Mexican created some additional enthusiasm and curiosity; I was what we jokingly call a “Mexican Curiosity.” Some people get offended by this, but I think it’s funny.

Jejune admires that most of your artwork is triggered by social, cultural, and political events happening. Why did you want to focus your art in this direction?
I believe this was a natural consequence of being an immigrant, years of living away from my homeland, and adapting to different social norms, lifestyles, and political spectrums. And it was strongly influenced by my experience working at the United Nations.

Most recently, your art installations are mainly focused on gun violence, war and violence against women. Jejune especially loves the installation, America’s Teddy Bear and The Star-Tainted Banner which are used to symbolize school shootings and police brutality respectively. What went through your mind when creating these installations? What do you hope people get out of experiencing these installations?
In February 2018 while watching the horrifying images of the shooting at Marjory Stoneman Douglas High School in Parkland, Florida, I spotted, amongst flowers and candles placed on victims’ shrines, an orange teddy bear. This bear resembled my childhood’s beloved teddy bear and brought back the feeling of security I had while embracing it. This connection triggered America’s Teddy Bear, and it is that kind of personal connection with childhood, that I aim to spark in other people, with the hope that it can prompt a fundamental desire to keep schools and children, safe.

With the Star-Tainted Banner, it was the brutal killing of George Floyd that initiated the piece. One common characteristic that tied both installations – and some of my other work – is the reckoning of individual lost lives and their perception within larger numbers and statistics. In both installations, I handwrite the names of the victims, in one on the foam bullets, and in the other on Band-Aids. But whereas in America’s Teddy Bear it is an incremental, but the specific number of bullets, on the Star-Tainted Banner there are countless Band-Aids left blank, and these stand for the unknown number of black people that have been victims of police discrimination and violence. Labeling bullets and Band-Aids is part of that process in which I grief for those lives lost. I handwrite names and try to think of them, even if we never met.

There were a lot of protests happening around the US last year, especially for gun violence and police brutality. What are your thoughts on that? What do you think the government and influential people can do to improve this situation?
I absolutely support the protests. I think the government and influential people need to address this with more care, especially with the kind of language they use. I feel terms like “Defund the Police” have caused much more harm than good, even if the concept has some validity. The conversations need to continue at that level, but I believe the solution needs to come from the bottom to the top. From individuals like you and me. During the months of continuing protests, I immersed myself into learning about racism and learning to talk about it. Listening and reading about stories of grief and fear, made a huge impact and incited The Star-Tainted Banner. Acknowledging privileges, behaviors and emotions are fundamental to make the shift. I joined SURJ (Showing Up For Racial Justice) – a grassroots organization that calls itself “A home for white people working for justice” – and I find hope in places like this.

On your website, we found a video called Unpacking Anxiety where you were sitting on the floor playing with bubble wraps. Can you expand more about the meaning behind this video? Is it created to raise awareness of mental health issues?
Not really. Unpacking Anxiety was not created to raise awareness of mental health issues, although it did prevent me from going crazy after Donald Trump was elected president in 2016!

I had recently moved to Germany and was living there during those elections. Like for so many others, it was a dark time, and I felt anxious and scared. I had been working with bubble wrap for several years before, and for this piece, which was shot in one take, I simply indulged in the process of breaking bubbles one at a time, and then just went with it and the desperation and anxiousness caught up.

Have you experienced any mental health problems previously? If so, how did you overcome it?
I have been very fortunate and have had a healthy and happy life, and for that, I am immensely grateful. But I take nothing for granted and admire individuals battling mental health issues, and the stigma that it unfortunately generates.

On a lighter note, you are the creator of Lotería: Luck talks (La Suerte Que Habla), a game inspired by the traditional Mexican game of La Lotería Mexicana. Can you share with our readers what you are trying to convey for this exhibition and its significance?
Lotería: Luck Talks is my lifelong project that bonds me to Mexico. La Lotería is a game like Bingo, but uses images, instead of numbers. The traditional game’s images evoke a popular Mexican event, artifact, individual, or other cultural symbols. Lotería: La Suerte Que Habla (Luck Talks) features entirely new images that represent my views of Mexico; they celebrate and denounce the current social, political and cultural state of Mexico. The cards are accompanied by original coplas (or riddles) written by Toronto-based Mexican-Canadian writer Martha Bátiz. In the traditional game, a “cantador” or singer would read out loud the aphorisms or riddles accompanying each card.

The combination of image and word, presented and played in a game format, is a powerful way to reach, inform and present difficult themes. There is cultural richness, humor, protest, education, and pride blended throughout our collection of cards. As is the case in my work, here again, I let current events dictate the pace and creation of new cards. The most recent ones are La Vacuna (The Vaccine) and La Máscara (The Mask), both advocating safe and healthy choices and behaviors during the pandemic. La Jaula (The Cage) and El Pañuelo (The Handkerchief), also created within the last two years, denounce the atrocious US government mandate that separated children from their families in the US-Mexican border, and on the other hand, El Pañuelo supports a worldwide movement called El Pañuelo Verde, that demands safe and legal abortion rights for women. Not all the cards deal with difficult or crude topics; there are also the iconic, cultural fun ones, like La Frida Inc., which sets Frida Kahlo as the ultimate merchandise figure, the ultimate irony. In one of her portraits, I replaced her beloved monkey with a huge bar code, that grows some lines into plant roots that wrap and hurt her neck.

Martha and I have brought La Lotería to Universities and galleries in a three-step configuration that has been very successful. We do an artist talk about the history of la Lotería and our version of it. Then, we play our Lotería game, and finally, lead the way to the exhibition of full-size Prints of the cards. A great combo that triggers conversations and awareness about relevant topics in and around Mexico.

For someone starting out in the art world, what advice would you give them?
Be true to who you are, trust your instincts, and never do work to please other people.

Outside of work, you also work with non-profit organizations like Choose Creativity and Sing For Hope. Can you tell us more about their work and their mission? How did you get involved with them?
The Choose Creativity initiative empowers children and adults to build resilience, creative confidence, and social-emotional skills to overcome adversity. It provides training and social-emotional learning frameworks for educators and other professionals. It was created and is powered by the Lulu and Leo Fund, a non-for-profit that raises funds to support it. I became involved with the Lulu and Leo Fund from the start, after its creation in memory of Lulu and Leo Krim, who were killed in their home, by their babysitter. This tragedy changed me profoundly, as a mother, neighbor, and as an artist. It was a wake-up call and fueled me with the sense of responsibility to help. I became more involved with my community and with my neighbors. I began to pay more attention to my surroundings and the world; I was being present and aware. I believe to this day, that my work and art practice is rooted in this mindset and way of life.

The Lulu and Leo Fund commissioned me to paint a piano for the Sing For Hope Pianos; a global arts initiative that creates artist-designed pianos; places them in parks, streets, and public spaces; then transports and activates them year-round in permanent homes in schools and hospitals. I love Sing For Hope, it’s amazing how they bring music, life, and love to hospitals, care facilities, refugee camps, and communities in need. They mobilize thousands of artists and connect with hundreds of community-based organizations to bring healing and hope to the people.

How can we raise awareness for organizations such as these and their causes, and why is it so important to do so?
Well, I think Jejune is doing its part now, by writing about them. At least the two I’ve mentioned ☺ The art-related news and stories unfortunately are first in line to be cut or edited, to give place to other pressing news. We need to read more good news! Both Sing For Hope and Choose Creativity have hundreds of testimonials and stories ready to be published and shared. They bring love and hope to the lives of so many people. Supporting them in any way we can, is helping their cause. You don’t have to be a millionaire to help by providing money, even a simple share in our social media channels and feeds can do its part. Imagine if instead of sharing a photo of the dish you are having in a fancy restaurant, you could share a photo or video of the elderly smiling joyfully after a concert brought to their nursing home?

Covid has been a tricky time for many people. Were you impacted by the lockdown? If so, what were the challenges?
I was lucky enough to leave New York right before the lockdown. My family and I had plans to spend spring break with our family in Mexico at the end of March 2020 but decided to leave earlier. What was supposed to be two weeks, became two months! We were so grateful that my kids could continue school online uninterrupted; my husband continued working from my parents’ home in Puebla, and I was able to look after and help my parents. In a way, the lockdown was a gift to my family.

How have you been staying positive during the lockdown?
Going back to basics, enjoying simple tasks, everyday activities. I take daily walks, exercise, and I have also been meditating a lot.

What is your motto in life?
Always be in touch with your inner child.

To keep up with Patricia Espinosa, please follow her via the below platforms:
https://www.patriciaespinosa.com/blog/
Instagram - @espiarte
https://www.laloteriaopina.com/
Instagram - @laloteriaopina

Patricia Espinosa Paints Her Mind Through Art