By Benjamin Leatherman
By Robrt L. Pela
By Katrina Montgomery
By Robrt L. Pela
By Kathleen Vanesian
By New Times
By Ray Stern
By Eric Tsetsi
If the latest show in the back room of Lisa Sette Gallery reminds you of being hustled by souvenir vendors wielding lacy glass galleons and spray-painted plaster statues of the Sacred Heart of Jesus or Mickey Mouse at the Tijuana-San Diego border, you've actually gotten the real drift of "Nouveau Riche."
An exhibition of glass and mixed-media sculpture created by brothers Jamex and Einar de la Torre, "Nouveau Riche" is aesthetic testament to the jarring culture clash of la frontera, as the border between Mexico and the United States is commonly called.
Like a hard glint of light, their work -- over-the-top, garish and occasionally vulgar -- illuminates the bizarre but vital twilight zone of border culture. This bipolar world slam-dances against the post-industrial amid the blare of mariachi trumpets and hard-rock music. It's a shadowland in which the profoundly tacky effortlessly melds with the down-dirty sublime. Where else could Disneyesque mansions of newly moneyed technocrats vie for attention with makeshift corrugated tin shacks -- all within spitting distance of the climate-controlled tourist mecca of San Diego?
La frontera happens to be a world that the de la Torre brothers know intimately, since the binational artists shuttle constantly between a studio in San Diego and their home in San Antonio de las Minas, a small town outside of Baja's port city of Ensenada.
"I would say our work is frontera because it has to do with the immigration and repatriation experience, more than the Chicano or Mexican-American experience, which we were quite removed from," explains Jamex de la Torre, who, at 39, is the older of the artist brothers. Both were born and spent part of their childhood in Guadalajara, Jalisco, Mexico. After fleeing from a talented but abusively alcoholic architect father in the 1970s, the de la Torre family ended up in the very wealthy, very white beach community of Dana Point in south Orange County, California -- a far cry from the run-down barrios to which many Mexican-Americans were consigned at the time.
"It forced us to have a better grasp of white American culture, especially in the '70s," adds Jamex. "Because we are living in Mexico again, we are experiencing the border constantly in our lives -- that juxtaposition of how you deal with life on two sides that don't necessarily reconcile with one another."
By straddling both worlds, the de la Torre brothers, who work separately as well as collaboratively, have a perfect vantage point from which to view the ongoing collision between the aesthetics and mores of two wildly different countries. Obviously influenced by both Mexican and American pop culture, as well as traditional Mexican folk arts and crafts, their sculptures reflect the moods with which the artists track the ever-transmuting border scene. From quiet cynicism to celebratory glee -- whatever the mood, it's always seasoned with a heavy dash of irony. If their work is considered kitsch, it is kitsch with real content, consciously crafted with bad taste in mind.
Nothing escapes the cross hairs of the de la Torres' mordant, though fairly accurate, sight. Religion, especially Roman Catholicism, politics, history, metaphysics, social values, fad and fashion -- even home decor -- are grist for the mill. The artists take aim at the spirit of crass consumerism and materialism in Puerco Capitalista (Capitalist Pig),a twisted cross between the artists' version of the Goose That Laid the Golden Egg and the Bird in the Golden Cage. The piece features a grinning glass pig eating a chorizo sausage (traditionally made with pork, by the way) perched inside a cage made from a schlocky, recycled hanging sculpture. On the bottom of the cage lie golden plops of pig poop studded with quarters, while plastic ivy slinks up the cage's top.
The lure of an illusory good life promised to Cubans should the U.S. embargo be lifted is memorialized in El Bloqueo (The Embargo),which consists of an ornate glass skull, an overdone but still popular symbol of death lifted from the Mexican Day of the Dead, offered up on a scrounged platter emblazoned with "Give Us Our Daily Bread." Underneath, just out of reach, small glass "blue birds of happiness" thrust their open beaks skullward from eggs that are part of an old porcelain deviled-egg tray.
In Tool of Desire, a glass hand with a spike through its palm tops a pyramid made from a glass medallion stamped with the glittery silhouette of the buxom mud-flap lady, the de facto patron saint of truckers on both sides of the border, and cast-resin medallions in which float nuts, bolts and sewing notions. The medallions are take-offs on recuerditos, or little souvenirs much beloved by Mexicans and Americans alike, as well as good-luck charms found in Mexican marketplaces and botanicas. The de la Torres' charms mimic pagan amulets used for santeriaor occult practices that comfortably co-exist alongside statues of traditional Catholic saints, Hindu deities and Buddhist Bodhisattvas. "There's a salsa song from Puerto Rico that says, 'The saint that doesn't work for me, I won't use,'" notes Einar. "As funny as that sounds, it's a very pragmatic approach to spirituality."