Part 2

Our conversation later pivots to the history of clay and it’s social muscle memory within community:

S: There’s such an interest in working with clay (thinking about how malleable that material is and our muscle memory connections to it)—you give someone anyone a piece of clay and they start molding it right away. It’s just our instinct. Something that I’m also interested in is this idea of all the transgenerational knowledge that exists within our DNA. When I first touched clay something happened.- I felt like we were friends before or something. I’m wondering if that has something to do with my ancestors, maybe working with it or just something that we do as humans. Whether we are speaking about ceramics or clay in general,— it has been part of every human civilization. It’s just so wonderful as a material (in thinking about history), and how even now in the present it’s still very relevant.

In-progress artwork created during one of Salvador’s workshops.

One of Salvador’s initial projects during his program at Threewalls was to address the environmental racism in Little Village. Because of the pandemic and other factors,  themes of this project would evolve into holistic oral histories. 

S: It ended up being more about healing in storytelling, and I realized:—before we even tackled his heavy issues, it seems like that—[healing through our voices] needs to be addressed first.

The enriching experience of community workshops and gatherings where members shared personal stories and experiences from their neighborhood provided valuable insights and information, fostering a sense of connection and camaraderie among participants. Some workshops focused on gardening, with adult participants enthusiastically sharing gardening tips, remedies, and their favorite plants to grow. Salvador found it rewarding to create a fruitful space where people could engage in both making art and conversing, noting the ease with which the material allowed for simultaneous work and discussion. Moments of silence during these sessions were also cherished, indicating deep engagement and enjoyment within the creative process. Overall, he believes that the workshops served as a platform for collective expression and learning, showcasing the beauty of clay as a means of fostering community and connection.

S: I think this project, in particular, was important for me because my parents lived in Little Village in the 70s. Then they moved back to Mexico in the 80s, and I was born and raised there. Then due to the North American Free Trade Agreement, my dad was affected being a farmer and he decided to move back. So I think for you know, at some point in their life- was a nice connection. To be able to facilitate those workshops was full circle. 

 Our final topic of discussion relates to themes of triple consciousness as a framework in the understanding and expression of identity. Salvador-sees his identity as an immigrant, particularly as someone born and raised in Jalisco, Mexico, who now resides in America as one that encompasses this complex feeling of not fully belonging, despite technically being in their ancestral land.

Attendees creating their own works during family workshop.

He draws inspiration from W.E.B. Du Bois’ concept of “double consciousness,” which articulates the struggle of living in between cultures and being perceived differently by the dominant culture. Discovering this concept during his time in community college provided Salvador with a sense of agency and belonging he had been seeking. Since then, exploring the idea of double consciousness has become a significant theme in his work, allowing him to embrace his dualities and rich cultural heritage. He finds inspiration in connecting with others who share similar or different experiences, viewing these connections as a source of creative richness.

S: I’m always excited to try a new medium and move in different directions. I think part of that has to do with also being both bilingual and bicultural teenagers realizing well, you can access different worlds, it doesn’t have to be one way.