CMConversations in Juxtaposition, Duality and Surrealism
interview by Jorge Perezchica
In today’s fast-paced world, filled with distractions from social media, and incessant demands of our digital screens that require immediate attention, there are artists like Moncho 1929 who strive to engage viewers in slow, intimate conversations that unfold gradually. Raised in the vibrant graffiti scene of the South Bronx during the crack era of New York City, Moncho 1929 draws inspiration from the abandoned buildings and the colorful street art that adorned his neighborhood. Influenced by his cousin and the memory of his proud Puerto Rican grandfather, he embarked on an artistic journey that combines personal introspection with global narratives.
Through his exploration of themes like duality and surrealism, Moncho 1929 offers a fresh perspective on contemporary global relationships. His artworks aim to spark curiosity and encourage viewers to question without being spoon-fed or directed with obvious references. The juxtapositions within his works create intriguing dialogues, inviting personal interpretations and challenging societal norms. As viewers observe the dualities that consume his series, they are captivated by the beauty and abstract elements within his subjects. These artworks serve as a reflection on society, highlighting how even those that consist of human features can evolve into new beings, becoming anonymous and defying conventional classification.
Moncho 1929’s artistic process is a mixture of meditation, concentration, and introspection, resulting in deeply personal yet visually striking works. While his public murals focus on color theory, spatial dynamics, and creating a shared visual conversation that transcends language and cultural boundaries, his canvas works delve into heavier themes and abstract reality. Through delicate lines and vibrant colors, he constructs narratives that captivate viewers, drawing them into a world where disparate elements merge to form thought-provoking compositions. With each brushstroke, Moncho 1929 challenges himself to push the boundaries of his craft and continuously evolve as an artist.
The Coachella Magazine Interview
Coachella Magazine: How would you describe your artistic style and what influences have shaped it?
MONCHO 1929: Juxtaposition, duality, surrealism. I try to create conversations within the works that can become personal with the viewer.
I grew up in a family of loud talkers with people yelling over each other and I saw how things never became understood. I wanted works that would speak slowly and have an intimate conversation without being overt or visually loud. I wanted work that would start a conversation with the viewer where they would ask questions without being spoonfed or directed with obvious references.
My works hopefully offer a poignant reflection on contemporary global relationships. As the viewer observes the dualities that consume the series they are intrigued by the gorgeous yet unnatural subjects. I encourage my audience to confront their own judgments as they attempt to classify the subjects. While they are awed by these creatures they can never truly be accepted as normal, natural, or acceptable. Even the figures that consist of human elements, lacking distinct facial features and combined with animal and man-made elements, become anonymous as they evolve into new beings.
CM: Can you share a bit about your journey as an artist and how your experiences in the South Bronx and the NYC graffiti scene influenced your work?
MONCHO 1929: I grew up in the Bronx back during the mid/late 80’s early 90’s and it was still crack era NYC so the whole neighborhood was abandoned buildings and lines of people buying drugs.
When I’d walk to the bodega, I would look at landmarks and graffiti in the neighborhood became that for me and a source of inspiration. With my cousin doing graffiti with Crash, Devo and others it became even more of an inspiration and motivation. He passed and at his funeral all those guys pushed me to go the art school route and build that way, so that’s where it started for me, but I never forgot the inspiration of public works and the idea of art that’s accessible to everyone.
CM: What is the origin story behind your artist name “Moncho 1929”
MONCHO 1929: That’s my grandfather’s nickname. He never had a chance to see any of my shows so it was a way of keeping him on the journey with me. Added to that, it’s satisfying to see this hardworking proud Puerto Rican man’s name at museum shows, Google, Porsche, and others because of his inspiration and love.
CM: What is your creative process like, and how do you approach a new project?
MONCHO 1929: It’s different each time, but it should always be a bit of excitement, nail-biting, frustration and relief. Art is intrinsically a solitary process and there’s a conversation the artist has with materials, content and process. It’s a mixture of meditation, concentration and introspection.
CM: What sociopolitical themes are you drawn to at the moment?
MONCHO 1929: My new works and show is called “Botanica” and it’s an exploration of how African and native religions and practices were intermingled within Christianity in order to practice and observe. There are also references and explorations about how Botanicas were de-facto clinics for mental health, herbal remedies, medicines, ect in low income communities from the caribbean and latin countries.
Tarot card reinterpretations, religious iconography, ect.
CM: How do you balance your work in public spaces with your traditional painting? Do you approach them differently?
MONCHO 1929: My approach to each is vastly different. In public works it’s more about a visual journey and wanting to connect to everyone and give the viewers a mutual place in terms of content to enjoy. I play with color theory, space, shape and how your eyes follow the flow of the works. On a basic level, everyone understands how colors can play and move so it transcends language, economics, race and more to connect everyone in a shared visual conversation.
My canvas works are more personal and deal with juxtapositions of theme, iconography, and delve deeper into heavier conversations. The works abstract reality, encouraging viewers to question the ways we perceive the world around us. The surreal nature of the works is elegantly complemented by the delicacy of line and color, drawing the viewer further and further into a world of disparate narratives and thrilling creatures.
CM: What role do you think art plays in society, and how do you hope your work impacts viewers?
MONCHO 1929: Art is everywhere and good art is nowhere. What I mean by that is everyone incorporates the nature of art into what they do when it’s done with purpose. Whether it’s cooking, building, thinking, the list is endless, but everything becomes an “art” when done with passion or purpose. Or when done for profit and posed as “art”. In those regards, for good or bad it’s everywhere.
Good art is sometimes not immediately seen but it’s always there and influences/inspires deeply. It becomes so entrenched into culture that it becomes bigger than just its components.
Unfortunately because art can be subjective also on a very literal level, there’s far more bad “art” than good art. So good art is nowhere. Also for good or bad.
CM: How do you continue to challenge yourself and grow as an artist? Are there any new techniques or mediums you’re currently exploring?
MONCHO 1929: I keep trying to produce work that I find exciting and has a reason to exist or for me to create. I think the artist is always the harshest critic of their own work and I’m at times brutal about my own work.
I’m exploring more techniques within this new series and I feel that the evolution of work will always let you know when it’s time to explore new ways of saying what you want to say.
CM: When you are not working, what are some of your favorite places to eat and hang out in Los Angeles?
MONCHO 1929: I’m a New Yorker, so I’m always looking for pizza, and as a boricua, always looking for Puerto Rican food.
Living in Los Angeles, I’m always exploring. I’ll never pass up a good food truck.
As far as hanging out, I’m a bit of a homebody/hermit so spending time with my family is where I’m usually at.
CM: What are you currently working on?
MONCHO 1929: I’ve been taking a much needed social media break and severely limiting studio visits these days, but I have a solo show coming up in November on Museum Row in DTLA across the street from Disney Concert Hall and The Broad Museum. With having to fill 5,000 square feet with about 15-20 new works on canvas with 5 large (4x10ft) hanging panels, I’m secluded/focused in the studio until it opens.
More on the artist:
OGalleryLA
moncho1929.com