Ceramic kit distribution for Arcilla Arte Cultura.

 Part 1

Born and raised in Jalisco, Mexico Jimenez Florez immigrated to the U.S in the year 2000. His work centers the use of clay as a restorative force and archival buttress used to heal and affirm his community and neighborhood of Black, Indigenous and migrant peoples. Through alchemizing the ancestral knowledge of its material memory within its medium, Salvador addresses colonialism, migration and the triple consciousness of identity. As someone with interests in the writings of Frantz Fanon and his sentiments on tripled identity- I gather that we will have much to talk about within this sector of art and theory. Our interview begins with his initial introduction to art derived from his experiences

S: “Prior to immigrating here, I wasn’t really interested in art. At the time I was a teenager. At this age you don’t necessarily know what you want to do. But moving to a place where you don’t understand the language, you don’t understand the school system, or, whatever you thought about the United States, its reality hits; and you realize, ‘Oh, that’s not how I used to see it on the pictures or the movies’; you realize this is different.

Initially drawn to photography as a means of processing his emotions and experiences, Salvador discovered the profound impact of visual art in healing and connection. Recognizing the need for practicality, he pursued a degree in graphic design to balance creativity with sustainability. However, his passion for art persisted, leading him to further his engagement with his community. During college Salvador noticed the lack of representation of people of color in those positions, leading him to get his Masters in fine art. He tells me that now he is in a position where he is that professor he never had but wishes he had. He expresses the importance of students seeing themselves represented and not just students of color but students from all different positions, backgrounds and social upbringings stating, “It benefits everyone really.”

Community produced artwork developed during Salvador’s engagments.

Salvador expressed to me that during his program at Threewalls, the impact of grant funding supported his ability to have a studio assistant, which was incredibly beneficial to his practice. He felt encouraged by the directors to expand his ideas with the use of the financial support. Sustaining a community workshop after the funding ends, particularly with ceramics as a medium, he believed required additional space funding and resources. He contrasts the limitations and complexities of working with ceramics with more accessible mediums, like a simple printing press project he previously devised.

He reflects on his overall experience within the workshops and community engagement, expressing a desire for more in-person programming to foster stronger connections within his cohort. Despite the challenges posed by the pandemic, Salvador emphasized to me the importance of face-to-face interactions in building a sense of community and facilitating collaborations amongst artists and participants.

Community produced artwork developed during Salvador’s engagments.

The push for these initiatives, to Salvador, would enhance relationships and lead to more opportunities for joint projects across disciplines. His observations give consideration towards the value of physical gatherings in nurturing a supportive and collaborative environment for artists and creators.

Salvador’s creative process is deeply rooted in introspection and engagement with the world around him- Absorbing influences from various sources- literature, music, the news and personal experiences, is integral to his work.This process allows ideas to manifest organically in the studio. Themes of colonization, migration, and identity, particularly as a Latinx individual, are central to his work. He challenges conventional narratives and explores revisionist histories, seeking to present alternative perspectives.Through his art, he navigates the complex nuances of identity through self reflection, history and the assertions of his presence through public sculpture commissions In a society that marginalizes immigrant voices.

S: It grounds me—my position—and it also makes me want to take space. You know, I think when I first came to the States it was more this idea of, ‘well, you’re an immigrant’-meaning you’re almost told to minimize yourself in the shadows in a way. I was like ‘no, I don’t, I don’t want to do that. I want to do the opposite’.

Click here to read Part 2.