Victoria Martinez works in a place between traditional gallery practice and urban intervention. The COMP Magazine recently toured the Chicago neighborhood of Pilsen with Victoria; visiting one of the more unique places in the city, laughing at the absurdities of the art-making process and rolling around in piles of fabric. And, at times, we even touched upon her aesthetic practice.
I’d like to start with you sharing your relationship with the City of Chicago. You grew up in the city, studied in Minneapolis at MCAD, and then returned. What role has the city played in developing your artistic voice?
I grew up in Pilsen. I decided to leave Chicago at the age of eighteen because I wanted to leave Pilsen and take a risk studying in another environment. Every time I visited Chicago for winter and summer break, I had conversations with mentors and educators who encouraged me to move back because they believed I had a future there. Additionally, my goal was to return and teach youth in Chicago. I entered art school with the idea of helping people through furniture design. However, I began instructing after school art classes, tutoring Spanish speaking children, and collaborated with elementary students and a local Somali café in a painting project incorporating video. It felt great sharing techniques with students and presenting my experiences in critiques. I thought to myself, why not move back and teach at non-profit organizations that encouraged me to pursue a career in the arts?
Victoria Martinez, Strawberry chuckle, 2014, installation, 5’x7’, fabric scrap, plastic table cloth, vinyl, house paint
You have a fondness for the Textile Discount Outlet in Pilsen. I would even go as far as saying this is an urban sanctuary for you. Do you remember when you first visited? Why does this place bring such joy to you?
The first time I visited the Textile Discount Outlet was sometime in the 90s, when it was located on 21st Place between Leavitt and Hoyne. I was less than ten years old. My mom was shopping for fabric to upholster our couch. I remember being seduced by the smell of aged styrofoam and endless rolls of textiles. The new location brings joy to me because it’s a candy store for all of my fabric desires. It reminds me of decaying castles with thread spirits leading me inside a labyrinth of confidence. It’s pure gold. I allow myself to be led by intuition when I’m there and always leave the warehouse ecstatic to complete my mission. It’s meant to be.
Victoria Martinez, Labyrinth lab, 2014, painting, 39”x23” vinyl, house paint, gold tape
You produce site-specific interventions in the public domain. These ephemeral objects are produced by you and in collaboration. Why did you begin making these works? What do you hope to achieve in these efforts? Are there any specific pieces or experiences that you see as having resonated with the casual passerby?
I began creating these projects because I wanted to work in spaces outside the white walls at MCAD. I was always vocal in critiques about working with people in communities for example the large Somali and Latino population that lived nearby but never entered MCAD because the atmosphere seemed intimidating. I had a mentor with a metal heart who challenged me during every conversation in her office. She questioned why I should work outside, who was my audience, and how would I prove that my dedication wasn’t plop art in the public sphere. I was also very intrigued by the urban environment and wanted to experiment in this setting by exploring the possibilities of participatory art. I will continue to work within the urban canvas and plan on facilitating public projects with communities to make art more accessible, educational, and exploding with color and pattern.
Victoria Martinez, Kiss me near the fence, 2014, collage, 10”x10” bed sheet, yarn, paper, buttons, embroidery floss
As noted, you have presented work in the public domain, but also you regularly exhibit your work in traditional exhibition spaces. What type of contrasting issues do you see affecting your artworks? Does your approach or message differ in these varied environments?
I don’t see any issues. If I’m invited to exhibit my work, I’ll participate. If I see an outdoor site I’m connected to, I’ll respond. My approach in both environments involves my intuition, allowing chance to lead me to new discoveries within my interdisciplinary practice.
Victoria Martinez, Departure laugh, 2014, sculpture/painting/collage, 23”x21”, Mexican grocery bag, house paint on plastic tablecloth, bubble wrap, plastic flowers, paint on balloons, thread
You appear to be starting 2015 out with a couple exhibitions. One, “El Material Normal Monumental” at the Riverside Art Center and another at ACRE Projects. Can you share what you are currently working upon in preparation for these shows. Are there any other projects planned for 2015?
I have been painting on tablecloths and collecting various items to weave. My goal is to present a combination of installation art, weaving, experiments on plastic, and perhaps photographs. I’ve been keeping an eye on decaying banners and abandoned windowsills in alleyways. 2015 will bring new life to these neglected sites.
Victoria Martinez grew up in Chicago, left, then returned. Her work has been presented in solo exhibitions at La Sala Gallery, Chicago, IL; Open Gallery, Nashville, TN; Spudnik Press, Chicago, IL; ditch. Gallery, Minneapolis, MN; Cobalt Studio, Chicago, IL; The Metro Gallery, Baltimore, MD and in numerous group exhibits throughout the United States. Victoria is probably counting the minutes until her next adventure at the Textile Discount Outlet!
For additional information on Victoria Martinez, please visit: victoria-martinez.com
Victoria Martinez, new media artist, Chicago, IL, 2014
Interview and portrait by Chester Alamo-Costello
