Rising Stars: Meet Monica Curiel

Today we’d like to introduce you to Monica Curiel. 

Hi Monica, so excited to have you with us today. What can you tell us about your story? What should we know about your work?
Thank you for having me. I am a Dallas native-born to Mexican immigrants from western Mexico. As a child, I spent the summers in Mexico and my experience as a first-generation Mexican American is at the core of my work. In my practice I use non-traditional materials, such as grouting tools, plaster, wood stain, and house paints. These construction materials, commonly used by the Latino labor force, a workforce my parents participate in, serves as a translation tool throughout my artworks. The materials serve to translate the story of a girl who accompanies her parents to work and searches to find her own identity in the midst of Mexican cultural traditions and American societal norms. The experience of accompanying my parents to mow lawns and clean homes is heavily reflected in my artistic process. It is the way I choose to honor and stay connected to my cultural roots. I use the same construction tools my parents used to create a livelihood for me and my four siblings.

I began creating abstract works during the beginning of the pandemic, which at that time was also my last year of my BFA (Fall of 2020). After my first go at abstraction, and having found it to be immensely satisfying, a professor relayed that abstraction really didn’t “suit me” saying it would be “difficult for people to understand.” Having heard this motivated me to prove him wrong. The next spring, I had my first solo show at the Union Gallery, it was then that I felt this was my life’s true vocation, to create, to paint, to do so because it is not only what I love but also, because I have the opportunity to pursue it.

I have enjoyed painting and drawing throughout all of my life, and like many creatives, I find that I love various fields in the arts. I spent eight years in my undergraduate studies studying: fashion design at the Fashion Institute of Design and Merchandising in Los Angeles, then interior architecture at Columbia College in Chicago. I was a Gilman scholar for my studies at Florence University of the Arts in Italy where I studied Italian culture and interior architecture. I finally settled in the Midwest and received my BFA from the University of Kansas. After two cancer diagnoses during my freshman and sophomore years of college, it became imperative to give myself the opportunity to study a multitude of things within many creative fields. Having done so however, made me realize that if I wanted to learn about women of color in these creative fields, it would require me to be intentional about doing so because learning about them was not exactly in every lesson plan or textbook. I felt a responsibility to contribute to my own culture and experiences as a creator. This history is evident when examining my work. I am motivated by the honor of immigrants and people of color, who often are left with laborious jobs as a result of systemic racism. Through my works, there is an intense sense of self-discovery. Ultimately, my work is a love letter to my Mexican heritage and to my parents for the sacrifices they made so that I may live out the American dream.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way? Looking back would you say it’s been easy or smooth in retrospect?
Great question! I think I am incredibly lucky to be an artist by profession, having that said, I would say the trajectory of my path has not been easy, but in retrospect I would not say it’s been difficult either. The way I approach it, is that I am constantly learning and evolving in both my practice and as an entrepreneur. I put forth an immense amount of hard work, but I also believe that luck comes into play when talking about an individual’s success.

Additionally, I think we are in a time of Artistic Renaissance due to the pandemic. It’s really awesome to be a part of it and to witness so many people venturing into creating new businesses for themselves and their communities. It is my understanding that in the field of painting, the last decade has been forced into change: galleries have had to create an online presence, artists now have a voice and an audience without geographical barriers . . . if one would like to pursue art, one does not necessarily have to be in academia to do so or have gallery representation. There are new avenues for artists, this all is again, exciting, but also challenging, in the sense that there is much that will continue to change as technology advances.

My greatest obstacle when beginning this venture was the belief I should wait for someone, a professor, a gallery, or a magazine to tell the world that my art is worth looking at and investing in. The traditional paths did not seem accessible to me as an emerging artist. I decided early on that the value of the works I create would not be weighed solely by another’s opinion.

I was also shocked when I had an inequitable experience based on my gender and race. In the spring of 2020 I was approached by a male gallerist to showcase my work. I was greeted with terms like “sweetie” and “babe”. This individual thought that by showing my work he would be “helping communities of color”. It made me feel like he was doing me a favor by showcasing my work – it left me feeling uneasy. I am intentional in who I choose to collaborate with, and I believe that both parties should be and feel respected. When there is an unbalanced dynamic I have learned to speak up for myself and create healthy boundaries. This is something I am constantly working on. Overall though, I would say the most important lesson I have learned thus far is to focus on my story, the narration of it and remaining authentic to myself and my practice.

Before we let you go, we’ve got to ask if you have any advice for those who are just starting out?
I find that many artists are afraid to become business people or business-minded, they are afraid if they become money conscious they will lose their integrity as a creator, I can’t blame them. We are almost trained to think that way: that your worth is dependent on something or someone outside of yourself. I don’t believe that. If you are a creator, create value in the work you do, know why you do it, why people should care about it. If you are waiting for someone to tell you what to price, what you are worth – you will have deprived yourself of your greatest potential. That is to create and to let it be shared.

Contact Info:

• Email: monicacuriel.art@gmail.com
• Website: https://monicacuriel.art/
• Instagram: https://www.instagram.com/monicacuriel.art/

Image Credits
Ian Ace Vecchiotti
Michael Ash Smith