Sam Coronado
Quince
2008
Serigraph
35.5 x 24.5 inches
Edition of 13
$1,200 Framed $1,050 unframed
The bull in Sam Coronado’s print, Quince, is a symbol of strength as well as the suffering and struggle
of survival. The bull’s muscles and aggressive stance show his power, as the red background conveys
passion and reminds the viewer of a matador’s cape. Coronado is reminded of the strength of the
artist’s involved in the Serie Project and the power of the message that the Project can send to the art
world. The struggle of a bull in the bullring is also parallel to the struggle of an artist to become
successful. Facing the matador, the bull has little chance of survival. He suffers through the pain of
the fight only to be killed as a triumph of the matador. Like the bull, artists struggle through hard
times and many never know success.
Sam Coronado was born in Ennis, Texas and was raised between there and Dallas. He eventually
studied in Austin and received a Bachelors of Fine Arts from the University of Texas. His work has
been widely exhibited throughout the United States, Mexico, Europe, and Africa. He is currently a
professor of drawing, painting, and color theory in the Visual Communications department at Austin
Community College.
Celia Alvarez Muñoz
Quince
2008
Serigraph
17 x 22 inches
Edition of 48
$600 framed, $450 unframed
Celia Alvarez Muñoz collected many images for inspiration on her print Quince: traditional
quinceañera tiaras, contemporary tattoos, and graffiti books. She calls this “visual shopping” and
keeps the clippings around her home and her studio to constantly aid her image development. “You
have to allow the work to tell you what it wants to be,” says Muñoz of her creative process.
In her artwork, the word “quince” is curved into an arch to mimic the shape of a tiara, while the
gradation of color within the letters is like the unveiling or presentation of la quinceañera at her
celebration. Scroll designs decorate the Helvetica font in the same way young women decorate
themselves with cosmetics and fancy clothing for their quinceañeras. Scrolls also prevent the letters
from appearing dull, for Muñoz realizes that artists “are always entertaining the eye as well.” The red
rose, a traditional tattoo image, is symbolic of coming‐of‐age. It carries sweet and sexual innuendos
such as the rose opening from a small bud or the deflowering of a young woman, both paralleling a
quinceañera’s development. The scrolling vines mimic the elaborate decorations on tiaras. Also,
according to Muñoz, vines grow and attach themselves to new things the same way a young woman
will step outside of her family to form new roots. The blue bird represents fertility, as birds help
spread seeds. To Muñoz, getting a tattoo and celebrating one’s fifteenth birthday are both rights of
passage. She placed the tattoo on the lower back because “it’s really sexy and…that’s what that age is
about…sexual awakening.”
Celia Alvarez Muñoz, a pioneer in the Chicano Art Movement of the 1960s and 70s, was born in El
Paso, TX. She received her B.A. from the University of Texas at El Paso in 1964 and her M.F.A. in 1982
from the University of North Texas. Muñoz participated in Serie V, creating the print Tolido. And no,
she does not have any tattoos of her own.
Quintin Gonzalez
Chicano 15
2008
Serigraph
16 x 22 inches
Edition of 52
$525 framed, $375 unframed
The “Luchador” in Quintin Gonzalez’s print Chicano 15 is an image that invokes nostalgia and joyful
memories of youth for Chicano viewers. The Luchador is a fighter who performs in the Lucha Libre, or
free fights, popular in Mexico. Gonzalez sees the Luchador as a hybrid of an actual individual and a
fantastic heroic image, as they have the dual role of masked acrobatic grapplers in the wrestling ring
and also superheroes fighting monsters, aliens, and other strange nemesis in modestly budgeted
films and comic books. The Luchador, with his bizarre adventures and wonderful absurdity, serves as
an escape from everyday banalities and hardships of life and becomes a modern myth in Chicano
culture.
Gonzalez expresses rebellion, which he considers to be a core value within the Chicano experience,
through the enigmatic title of his painting. He resists the viewers expectation that the title will
explain the image. The font, familiar in tattoos and various urban images, is also a reminder of the
resistance common in Chicano culture. Gonzalez pieces together visual elements of the marginalized
Chicano culture and elevates them with modern formal manipulation and design.
Quintin Gonzalez was born in Laredo, Texas. His interest in painting and drawing led him to pursue a
BFA in painting at the Kansas City Art Institute and an MFA in painting and printmaking from the
Yale School of Art. He now serves as an Associate Professor of painting and drawing at the University
of Colorado Denver.
Alma Lopez
El Vals de las Mariposas
2008
Serigraph
16 x 21.75 inches
Edition of 46
$525 framed, $375 unframed
“A spirit, a dream, or a wish…or a hope” is how Mexican‐born Chicana artist, activist, and visual
storyteller Alma Lopez describes the central figure in her print El Vals de la Mariposas. This title is
shared with a waltz that is commonly performed at quinceañeras, a party celebrating the fifteenth
year of a young woman’s life. Along with the waltz, Lopez addresses multiple traditions with a
complex symbolism that characterizes her artwork.
Traditionally, 15 couples perform the quinceañera waltz. In El Vals de la Mariposas, 15 butterflies
dance toward the viewer from behind the moon and around the central couple in a flurry of activity
that mimics the youthful energy of party‐goers at a quinceañera. The butterflies depicted are of the
Viceroy species, which Lopez chose because of its similarities to the struggles of the Latin‐American
immigrant population. Lopez’s original plans included the Monarch butterfly because of its migration
patterns between the United States and Mexico; this pattern parallels how naturally Mexicans and
other Latinos travel back and forth over a political border. This border is not strong enough to deter
the fragile butterfly from maintaining such an ingrained migration pattern just as it is not strong
enough to inhibit the genetic memory of people who have long traveled across the land. The Viceroy
butterfly resembles the Monarch to vicariously benefit from its natural defense of tasting bitter to
predators. For Lopez, “the Viceroy stands for difference and queerness, even within a community.”
The couple dancing on the moon represents la quinceañera and her chambelán, or escort and dance
partner for the quinceañera. Lopez’s work frequently features images of the Virgin of Guadalupe and
La Sirena. The images of La Sirena and the moon are both from the traditional Mexican game lotería.
Although La Sirena as la quinceañera does not don the traditional formal gown, she does wear a tiara.
Comprised of roses, the tiara alludes to the legend of the appearance of the Virgin to an indigenous
boy in 16th‐century Mexico. Lopez reconfigured the Virgin to represent el chambelán by dressing her
in male attire with the stars and floral designs that commonly adorn her feminine robes. Lopez also
depicts the Virgin with short hair, making her an androgynous chambelán. Like the ambiguous
appearance of the Viceroy butterfly, the chambelán’s gender is vague. Even her existence is vague, as
she is composed of outline only, careful to not deflect attention away from the true reason for the
celebration: la quinceañera.
Alma Lopez received her BA from UC Santa Barbara (1988) and MFA from UC Irvine (1996). She
created the print La Llorona Desperately Seeking Coyolxauhqui for Serie X in 2003. Lopez currently
lives in Los Angeles, where she helped co‐found three organizations: L.A. Coyotas, Tongues, and
Homegirl Productions.
Ester Hernandez
Sun Raid
2008
Serigraph
20 x 15 inches
Edition of 50
$600 framed, $450 unframed
In Sun Raid, Ester Hernandez transforms a familiar raisin box to make a statement about the
situation many farm workers are facing in the United States. The wholesome face normally found on
the front of the box is changed into a skeletal farm worker wearing a huipil, a native Mexican dress.
She wears a security‐monitoring bracelet labeled ICE, for the Immigrations and Customs Agents,
signifying looming deportation. Messages on the box are changed to read “Product of NAFTA,” and
“Deportation Guaranteed.” Hernandez uses the names of Mexican indigenous groups from the Oaxaca
area because they make up a large number of farm workers in the United States. She hopes her work
provokes a dialogue about the issues that effect a population that is often invisible to the mainstream
public. Her concern for farm workers can be seen in a similar image she created 27 years ago, titled
Sun Mad. She transformed the same raisin box into a statement about the overuse of pesticides and
the effect it has on our bodies and environment.
Ester Hernandez was born in California in a family of six children to farm worker parents. She
received her Bachelors in Art Practice from the University of California, Berkeley and now lives in
San Francisco.
Benito Huerta
Shock and Awe
2008
Serigraph
14 x 22 inches
Edition of 50
$525 framed, $375 unframed
Benito Huerta’s print for Serie XV reinterprets the phrase “shock and awe." The print consists of
three layers; a digital countdown from fifteen, a reference to the Serie Project’s Quinceañera, is
overlaid on top of a mushroom cloud from an atomic bomb explosion. Juxtaposing a nude young
woman’s form, a visual quote from Gauguin’s Spirits of the Dead Watching, Huerta connects the
notion of shock and awe as it relates to war with the viewer’s reaction to nudity. Huerta feels that one
may feel horror at the sight of a destructive atomic blast while being fascinated with the cloud’s
beauty. Similarly, people in today’s society are shocked when confronted with nudity but the taboo
also inspires awe.
Shock and Awe is part of a series Huerta created that update famous paintings by adding tattoos and
piercings to the subjects to make them more relevant in today’s world. Tattoos catch the viewer’s eye
and contemporize Gauguin’s nude. One tattoo stands out against the pink: an image of a skull and
yellow rose mimics the shape of the deadly cloud in the background and encapsulates the ideas of life
and death.
Matthew Rodriguez
In the second grade…
2007
Serigraph
22 x 16 inches
Edition of 50
$525 framed, $375 unframed
Austin native Matthew Rodriguez has been experimenting with monster and cartoon images since he
was a child and continues to explore these subjects in his art today. A self‐taught artist, he describes
his work as being “little kid drawings” and hopes his work injects a touch of comedy into viewers’
lives. Rodriguez draws inspiration from a vintage Trix Cereal box in his print In the Second Grade...,
where a seemingly sweet girl walks a rainbow monster on a leash as if it were her dog. The idea for
this print originally came from a proposal for the New York City Deitch Art Parade in which
Rodriguez planned to participate in by recreating his print into real life. While drawing is his
preferred medium, Rodriguez plans to continue working with the silkscreening process and
hopefully create prints that incorporate images from cartoons he watched as a child. His art has been
showcased in Austin, Los Angeles, New York, and San Francisco among other cities.
Delilah Montoya
Los Dos Corazones
2007
Serigraph
16 x 19 inches
Edition of 43
$600 framed, $450 unframed
Born in Fort Worth, Texas, Chicana artist Delilah Montoya masters the mediums of painting, printing,
and photography. Montoya’s art mostly focuses on Chicano culture, and she uses her art as a vehicle
for exploring her identity as a Chicana woman. In her print Los Dos Corazones, Montoya pays homage
to her lifelong friend, renowned sculptor Luis Jimenez, who passed away in 2006. In the locket,
Montoya uses a photograph of Jimenez that she took in 2005 when they were hiking outside of his
ranch in New Mexico. The other images in the print are mementos that Montoya and Jimenez shared
in real life such as the rose petals whose beauty they both observed once outside her home and the
locket and charms that were gifts from Jimenez to Montoya. “Luis was a very warm, caring individual,
and I hope people can get this sense of him when looking at this print,” she says. Her work has been
exhibited throughout New Mexico, Texas, New York, California, France, and Mexico. Montoya has an
MA from Printmaking and an MFA in Studio at the University of New Mexico at Albuquerque, and she
current teaches photography and digital design at the University of Houston.
Sodalitas
Coastown, TX, 2006
Screenprint
23.5 x 18 in
Edition of 60
$525 framed, $375 unframed
Traditional fine art requires the subjective interpretations of individual artists. As such, each piece of
work is a reflection of one person conveying a message to many. But in the 21st century, traditional
fine art has gotten a facelift with the collaborative efforts of Austin's Sodalitas. Sodalitas comprises
three artists producing art as one who hope to discover the dynamics of group cohesion, the role of
individuals within groups, and the point (and reasons) for a group to begin working against itself.
The trio joined forces in 2002 to address their intrigue in "group art" using their respective mediums
ranging from paints and sketches to scans and eclectic maps of the Austin area. Their mission is to
explore new ways of working together, driven by the idea that artwork created by three is accessible
to more audiences that artwork made by one. Their pieces are often colorful, playful and inspired by
urban sprawl, war, advertising, and science. For Serie XIII, Sodalitas created Coastown, TX, a unique
view of the Austin skyline from across Town Lake. Coastown, TX is the Serie Project's most ambitious
work to‐date because it not only incorporated 30 colors of paint, but also required a calculated effort
by the artists to communicate their vision to Serie's master printer, Paul Fucik. Layer‐by‐layer, and
color‐by‐color, the cityscape unfolds as viewers are drawn to the shores of this polluted horizon.
References to Austin's bats and water tower can be seen alongside the faint abstractions of three
figures emerging from the print. For a step‐by‐step process of the making of Coastown, TX, visit
Jacquiline May
The Bee Star, 2001
Screenprint
22.25 x 16 in
Edition of 50
$525 framed, $375 unframed
Born in Fort Worth, Texas, Jacqueline May earned her B.F.A. at the University of North Texas in
Denton. Of this print she explains, "I have long been fascinated by social insects and the parallels
between the insect societies and our own. Bees are workers, and they produce both sweetness and
pain. In Mayan mythology, the Bee Star refers to Venus. Amused by the juxtaposition of bees with the
goddess of love, I created a piece in which labor, reproductive processes, sweetness, and stings
inhabit a human heart."
Roberto Munguia
Reza
2006
Serigraph
15 x 20.5 inches
Edition of 58
$525 framed, $375 unframed
Speaking about the production/creation of Reza, Kingsville artist Roberto Munguia says, "The print
continues a series of images I started in 1995. This series is primarily an exploration of color in form,
but also deals with relationships of the heart. I have introduced a new element with this print: a
Byzantine mosaic, which ties this particular image to my Christian heritage." Munguia received his
B.F.A. from the University of Texas at Austin, and his M.A. and M.F.A. from the University of Dallas.
Kathy Vargas
Innocent Age
2006
Serigraph
22 x 18 inches
Edition of 52
$675 framed, $525 unframed
Kathy Vargas knew she would be a photographer when she first saw a picture develop in a darkroom
in 1971. As the exposed silver washed away from the paper to reveal her image, Vargas was hooked
to the medium. Six months later, she ditched her aspirations of painting and picked up a camera and
has since devoted her life to photography. In her 35 years as a photographer, Vargas has explored
ways of making her work accessible to "regular people." For Serie XIII, Vargas recreated a handcolored,
gelatin silver print entitled Innocent Age, one photograph of a series capturing the essence of
people she knows through images of their childhood. In Innocent Age, Vargas borrowed a picture of a
friend's father who was the late Texas Senator Gregory Luna. The image shows a young Luna riding a
tricycle that's too small for him in a yard that indicates Luna's humble beginnings. Vargas chose to
use the image based on her question of what it takes to raise an emotionally happy child:
"Sometimes, even when you've got a tricycle that you've outgrown because maybe your family can't
afford a new bike and there's calzones (long underwear) hanging from the clothesline, you've still got
enough to succeed if you've got the love and support of your family." Vargas complements the
photograph with a layered frame that is meant to reveal more about the subject because, according
to the artist, "people still expect photography to tell them the truth and they expect photography to
preserve their memories. Photographs are the truth, but not the whole truth, and every time you look
at a photograph it's everybody's memories getting layered on it."
Vargas received her Bachelors of Fine Arts in 1981 and her Masters of Fine Arts in 1984 from the
University of Texas at San Antonio. She currently resides in her hometown of San Antonio and is
completing her Innocent Age series.
Tony Ortega
La Marcha de Lupe Liberty
2006
Serigraph
23 x 16 inches
Edition of 50
$600 framed, $450 unframed
What is the Latino experience in the United States? Is it the farm worker unfairly paid? Is it the
grandmother making tortillas for dinner? Or is it children gathering around the popsicle street
vendor? For Colorado artist Tony Ortega, the Latino experience is all these things and much, much
more. Ortega draws from individual slices of life to create artwork centered on family and
community‐what he considers the two major components of the Latino. Moreover, each piece of art
he makes adds to the dynamic culture he works with exclusively, an active and vital part of American
society that Ortega feels goes too unnoticed. Ortega brings these concepts of family and community
out of the shadows and into this year's Serie Project with La Marcha de Lupe Liberty. In it, he digitally
combined images of the Statue of Liberty and of Our Lady of Guadalupe, two of the most recognizable
icons from the United States and Mexico. Ortega wished to create a figure with relevance to both
cultures as a backdrop to a marching crowd in the foreground. The juxtaposition of the real with the
iconic gives a view of the current state of immigrant relations in the United States. Ortega got the idea
for the image when he attended a 2006 Denver rally in support of immigrant rights and in reaction to
a proposed federal bill to deport illegal immigrants. His "marchers" are faceless to convey Ortega's
concept of community because "we can put our friend's faces‐our own faces‐to complete the piece."
Ortega was born in Santa Fe, New Mexico and grew up between his birthplace and Denver. He
received a Masters of Fine Arts from the University of Colorado at Boulder in 1995 and is currently
an assistant professor of fine art at Regis University.
John Hernandez
Summer Totem
2005
Serigraph
15 x 23 inches
Edition of 50
$600 framed, $450 unframed
A native of San Antonio presently residing in Dallas, artist John Hernandez received a Bachelor of
Arts from Our Lady of the Lake University in San Antonio. Later, he earned his Master of Fine Arts
from North Texas State University in Denton, Texas. In 1989, he received an artist's grant from the
National Endowment for the Arts. His work has been widely exhibited. His style is humorous and
personal. His bold and aggressive characters mimic such sources as horror movies, cartoons, comic
books, and album covers.
Celina Hinojosa
Andaba Perdida
2003
Serigraph
15 x 22 inches
Edition of 50
$600 framed, $450 unframed
Celina Hinojosa began her artistic career as a pianist at the age of eight, but was drawn to paint years
after beginning her music studies. She sold her first painting at the age of sixteen. Her formal art
education began at Texas Southmost College in Brownsville, where she studied with George Truan. In
1985, she received her BFA at the University of Texas at Austin where she interned with illustrator
Tom Curry. She continued her studies at Texas A & I University, earning her MS in art in 1991. Her
career took her through various paths as lecturer, illustrator, instructor, and freelance artist. For
several years she was employed as an illustrator of children's books. Then, in 1996, Hinojosa
returned to her original dream, to work as a serious painter. She paints subjects closely linked to life
in the Rio Grande Valley, recording vignettes and scenes of daily living. Putting faces to everyday
activities, such as cooking or passing time in a cantina, brings specificity and truth to what otherwise
might be a forgetful moment.
Francisco Delgado
Catharsis I
2004
Serigraph
16 x 22 inches
Edition of 50
$600 framed, $450 unframed
The sounds of fans cheering and booing, yelling and echoing into the distance, are all emotions
conveyed through much of Francisco Delgado's paintings. Born in Juarez, Mexico, Delgado strives to
convey the border life he grew up knowing since his birth in 1974. Immersed in immigration, racism,
and bi‐cultural disconnectedness, Delgado deals with border life's harsh realities by making art.
While attending UT El Paso, Delgado also dealt with and confronted his university's curriculum
which emphasized European art‐a reality he strives to incorporate into his artwork to this day: "My
reaction was to appropriate Mexican icons into Renaissance paintings." Furthering his political
interests, Delgado eventually started to explicitly address border life problems through his images. In
2000 Delgado received his BFA from UTEP, and within two years received his MFA from the Yale
School of Art. While there, he got the chance to expand his artistic toolkit with stencils, reliefs, and
stone lithography. The distance from his home, though, didn't keep Delgado away from painting,
either‐or from exhibiting and even teaching. Despite his studies abroad, Delgado continues to depict
much of the life he grew up knowing all too well‐depictions that strive to do more than just point out
victims of racism, social inequalities, and injustice. "The purpose of my art is not to persecute anyone,
but to expose problems within our community," Delgado says. "It is necessary for us to identify our
failures before any significant positive changes can take place."
Ramiro Rodriguez
Anhelo
2004
Serigraph
24 x 16 inches
Edition of 65
$525 framed, $375 unframed
"A cross‐legged male figure plunges into deep blue water holding an undisclosed object tightly in his
arms." So describes Ramiro Rodriguez his Serie XI print entitled Anhelo (Longing), a continuation of
the symbolic qualities of water he often depicts in his compositions. A proponent of the power art can
present to viewers, Rodriguez uses water as symbols for unconsciousness, the femininity, birth,
healing, and transformation. Born of Mexican parents in Douglas, Michigan, Rodriguez's art career
has flowed nicely since receiving his BFA in 1990 from Kendall College of Art and Design in Grand
Rapids, Michigan. Already a part of several group exhibitions, Rodriguez used his knack for artistic
expression and applied further to his studies: this time, to the University of Cincinnati's School of
Design, Art, Architecture and Planning where he gained his MFA in 1993. Within the next ten years
Rodriguez presented over twenty exhibitions throughout the mid‐west as well as in Los Angeles. His
mediums, influenced by Dutch and Spanish painters, include watercolors, oils, woodcuts, and
computer generated images. A former instructor and exhibition preparator, Rodriguez's art career is
one that, like the water he seeks to use in his work, is ever changing. In 2004 Rodriguez applied for a
new career, though some would consider it more a gift than a job: fatherhood, which he shares with
his wife in their hometown of residency in South Bend, Indiana.
Cruz Ortiz
Darling
2002
Serigraph
21 x 16 inches
Edition of 50
$675 framed, $525 unframed
Cruz Ortiz majored in Fine Arts at San Antonio College, and earned his BFA from The University of
Texas at San Antonio. He is active in art education and in making art available in public places, and is
currently an art instructor at Healy‐Murphy Center, Alternative High School in San Antonio, Texas. In
addition to printmaking, he also works in video and performance art. The theme of his work takes on
the form of a love‐hate relationship between people living in the post‐Movimiento period and the
Euro‐centric society they live in. The consequences of such a relationship are the subjections of
traditional Chicano iconography to past stereotypes and challenges of authenticity.
Vincent Valdez
Round 10
2002
Serigraph
22 x 16 inches
Edition of 50
NFS
Born in San Antonio, Texas, artist Vincent Valdez earned his B.F.A. at the Rhode Island School of
Design in Illustration. Recently his work has been featured at Mexic‐Arte Museum and he will have
work included in a traveling exhibit sponsored by the San Antonio Museum of Art, Chicano Visions:
American Painters on the Verge, from the Collection of Cheech Marin.
Alma Lopez
La Llorona Desperately Seeking Coyolxauhqui
2003
Serigraph
22 x 16 inches
Edition of 60
NFS
California artist Alma Lopez was added as a special edition of Serie X. Lopez came to Coronado Studio
as part of the SALA Project (West San Antonio Meets East Los Angeles). Her print La Llorona
Desperately Seeking Coyolxauhqui addresses the murders of women and girls on the US‐Mexican
border. For over ten years, more than 300 young women and girls have been found tortured and
murdered in Juarez, Mexico. Many more are still missing. The print is pink, alluding to the black
crosses on pink backgrounds painted by families and friends to represent a missing young woman or
girl in Juarez. The background represents the mothers; the Virgen of Guadalupe (the background
design of her dress), la Llorona (the silhouette), and the Coatlicue (the necklace). The female figure
with the Coyolxauhqui engraved on her chest represents the daughters. The flowers in the
foreground represent an offering to an altar or a funeral and the plucking of lives.
Gaspar Enriquez
QVoWay
1998
Serigraph
16 x 22 inches
Edition of 36
NFS
"This image deals directly from daily experiences with the people I know, individuals who remind me
of friends and people I grew up with. It is not a crusade to change lives or lifestyles, but a record of
experiences, ideas, and feelings about a subculture that has endured in the Mexican‐American life
since the second World War. This lifestyle has been passed from generation to generation. It has
survived wars, prisons, and various other elements. My portrayal of these individuals and their
lifestyle is neither positive nor negative. My interpretation is subjective and with the viewers,
interpretation depended on his or her experience with this lifestyle."
Juan Miguel Ramos
Virtual Tejanos, 2002
Screenprint
16 x 22 in
Edition of 50
$675 framed, $525 unframed
Juan Miguel Ramos received his BFA and MFA from The University of Texas at San Antonio. He is also a
musician (currently a member of Sexto Sol) and co-founder of San Anto Cultural Arts. In his work, he uses
a Sharpie marker to depict Mexican Americans as he sees them in life, not as characters, but as "the
likenesses of actual friends and acquaintances from photographs I have taken." In this kind of documentary
fashion he portrays his subjects as complex and layered, as "pocho, Tejano, indigenous, mainstream
american, mexican, punk rocker, and xicana/o all at once."
Santa Barraza
Cihuateteo con Coyalxauhqui y La Guadalupana
1996
Serigraph
16.5 x 22 inches
Edition of 44
NFS
"My artwork becomes a manifestation of a struggle to create a new American identity, affirming
cultural congestion and survival. I express my experience as a Mexica Tejana, a Chicana, occupying,
interpreting, defining, and living in a unique space of disassociation of identity, enriched with culture
and legends." A graduate of the University of Texas at Austin with an MFA in painting and drawing,
artist Santa Barraza now teaches at the School of the Art Institute of Chicago. She has received
numerous grants and awards for her work, and has traveled across the country lecturing on Chicano
and Latino art.
Leticia Huerta
Padre Nuestro
1996
Serigraph
18 x 16.25 inches
Edition of 34
$750 framed, $600 unframed
"An important aspect of my work is the sense of labor involved in creating it. I am working with
construction materials that I have been interested in since childhood. My father was a carpenter. I
incorporate these building materials as well as others like shell, tin, gold leaf, paper, photos, and
paint. Recycling of materials is another idea taken from my father's manner of working. The image of
the cross is employed in this as well as many of my other constructions. It refers to my Mexican
Catholic experience that is both Christian and pagan." Huerta received her BFA from the University of
Texas at San Antonio and her MFA from Southern Methodist University in Dallas.
Rolando Briseño
Bicultural Tablesetting
1998
Serigraph
16 x 22 inches
Edition of 53
$1,125 framed, $975 unframed
Rolando Briseño was born in San Antonio, Texas in 1952. He attended The National Autonomous
University of Mexico in Mexico City for a summer session on scholarship before going to New York
City to attend Cooper Union. He then transferred to the University of Texas at Austin where he
attained two degrees: a B.A. in Art History and a B.F.A. in Art. Rolando received a M.F.A. from
Columbia University in 1979. His work is included in such museum collections as the Brooklyn
Museum, the Bronx Museum, El Museo del Barrio in New York City, the Corcoran Gallery in
Washington, D.C., and the Houstatonic Museum in Bridgeport, CT.
César Martínez
Untitled
1995
Serigraph
16 x 16.5 inches
Edition of 44
NFS
Born in Laredo, Texas, Cesar Martinez now lives and works in San Antonio. Regarded as a major
contributor to the Hispanic art movement, he has received international recognition through
exhibitions such as Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors
(1987). He has exhibited throughout Texas, has been nationally reviewed, and is represented by
galleries in Austin, New York and San Antonio.
Fidencio Duran
Dejo Flores y Canciones
1994
Serigraph
16 x 22 inches
Edition of 50
$675 framed, $525 unframed
Austin artist Fidencio Duran is a graduate of the University of Texas in Austin with a BFA. He is the
recipient of various awards, including recognition from the Dallas Museum of Art, Art at Large, the
Austin Visual Arts Association, and Laguna Gloria Art Museum. Duran has instructed students of
painting and drawing at Southwest Texas State University in San Marcos, Texas.
Sam Coronado
Dos Mundos
1993
Serigraph
14 x 20 inches
Edition of 12
$1,125 framed, $975 unframed
Born and raised in Texas, Austin artist Sam Coronado studied art at the University of Texas at Austin,
where he received a B.F.A. His work has been widely exhibited throughout the United States, Mexico,
and Africa. Coronado is an Associate Professor at Austin Community College as well as the founder of
Coronado Studio and the Serie Print Project.
Carlos Gómez
Llanto
2000
Serigraph
16 x 22 inches
Edition of 50
$525 framed, $375 unframed
Brownsville artist Carlos Gomez earned his B.F.A. from Pan American University and his M.F.A. at
Washington State University. Gomez refers to his style of work as "Social Abstract Surrealism" and
describes this print as a "young bird symbolic of children's desperation in a world with uncertain
outcomes. In this case, one left all alone, and his llanto never to be heard by any one except him."
Pio Pulido
Untitled
1994
Serigraph
22 x 15.5 inches
Edition of 44
$750 framed, $600 unframed
Born and raised in Mexico City, artist Pio Pulido is one of the co‐founders of the Mexic‐Arte Museum
in Austin, Texas, and was instrumental in acquiring various exhibits, including works by Diego
Rivera. His work has been exhibited in the United States and Mexico. Pulido's work is abstract
expressionist in nature and incorporates vivid color in visual as well as tactile textures.