Bread &amp; Salt CuratorThomas DeMello in Conversation with Artist Mathieu Gregoire about his beginnings as an artist and his past exhibition in ICE gallery. this is an unconventional episode for us but we could not pass up the chance to talk with Mathieu you can find out more about his work at https://mathieugregoire.net or visit the ICE gallery website https://icegallerysd.com to learn more about Michael James Armstrong who is the Owner and Curator for ICE gallery visit https://www.michaeljamesarmstrong.com or check out https://www.instagram.com/starberrysweet/?hl=en

Bread &amp; Salt CuratorThomas DeMello in Conversation with Artist Mathieu Gregoire about his beginnings as an artist and his past exhibition in ICE gallery. this is an unconventional episode for us but we could not pass up the chance to talk with Mathieu you can find out more about his work at <a href="https://mathieugregoire.net" rel="noopener noreferer nofollow" target="_blank">https://mathieugregoire.net</a> or visit the ICE gallery website <a href="https://icegallerysd.com" rel="noopener noreferer nofollow" target="_blank">https://icegallerysd.com</a> to learn more about Michael James Armstrong who is the Owner and Curator for ICE gallery visit <a href="https://www.michaeljamesarmstrong.com" rel="noopener noreferer nofollow" target="_blank">https://www.michaeljamesarmstrong.com</a> or check out <a href="https://www.instagram.com/starberrysweet/?hl=en" rel="noopener noreferer nofollow" target="_blank">https://www.instagram.com/starberrysweet/?hl=en</a>

Mathieu Gregoire

Artist Marisol Rendón in conversation with Bread &amp; Salt Curator Thomas DeMello

Artist Marisol Rendón in conversation with Bread &amp; Salt Curator Thomas DeMello

Marisol Rendón

Artist Yasmine Kasem in conversation with Bread &amp; Salt Curator Thomas DeMello

Artist Yasmine Kasem in conversation with Bread &amp; Salt Curator Thomas DeMello

Yasmine Kasem

Joe Yorty

JOE CANTRELL

A Conversation with Joe Yorty and Joe Cantrell with Bread &amp; Salt Curator Thomas DeMello about the Exhibition "I ate and I ate and nothing happened"  On View in the Bread &amp; Salt Main Gallery through June 19, 2022

A Conversation with Joe Yorty and Joe Cantrell with Bread &amp; Salt Curator Thomas DeMello about the Exhibition "I ate and I ate and nothing happened"  On View in the Bread &amp; Salt Main Gallery through June 19, 2022

Joe Yorty & Joe Cantrell

Neil Kendricks is a filmmaker, artist, photographer, writer, educator Kendricks earned a Master’s degree in Television, Film and New Media from San Diego State University in 2006. His award-winning short films like 2002’s Loop have screened at numerous international film festivals including the Palm Springs International Festival of Short Films, the Comic-Con International Independent Film Festival, the 2002 Havana Film Festival, and a special short-film screening at the 2003 Cannes Film Festival’s American Pavilion. Kendricks’ photography has also been exhibited at the San Diego Museum of Art, the African-American Museum of Fine Arts, London’s Royal College of Art, and many other venues. His first solo photography exhibition, Bruised Eye Candy was shown at San Diego’s now-defunct Spacecraft gallery in February 2008. Kendricks also produced, production designed and storyboarded media theorist Jordan Crandall’s film, Heatseeking, which was shown at inSITE 2000 and exhibited in the Whitney Museum of American Art’s BitStream exhibition, the first digital-arts exhibition shown at a major American art museum.

Neil Kendricks is a filmmaker, artist, photographer, writer, educator Kendricks earned a Master’s degree in Television, Film and New Media from San Diego State University in 2006. His award-winning short films like 2002’s Loop have screened at numerous international film festivals including the Palm Springs International Festival of Short Films, the Comic-Con International Independent Film Festival, the 2002 Havana Film Festival, and a special short-film screening at the 2003 Cannes Film Festival’s American Pavilion. Kendricks’ photography has also been exhibited at the San Diego Museum of Art, the African-American Museum of Fine Arts, London’s Royal College of Art, and many other venues. His first solo photography exhibition, Bruised Eye Candy was shown at San Diego’s now-defunct Spacecraft gallery in February 2008. Kendricks also produced, production designed and storyboarded media theorist Jordan Crandall’s film, Heatseeking, which was shown at inSITE 2000 and exhibited in the Whitney Museum of American Art’s BitStream exhibition, the first digital-arts exhibition shown at a major American art museum.

Neil Kendricks

Conversation with Artist Tatiana Ortiz-Rubio  Union Tribune Article

Conversation with Artist <a href="http://www.tatianaortizrubio.com" rel="nofollow" target="_blank">Tatiana Ortiz-Rubio</a> <a href="https://www.sandiegouniontribune.com/vmswvcvmjpe-123" rel="nofollow" target="_blank">Union Tribune Article</a>

Tatiana Ortiz-Rubio

Marcos Ramírez ERRE in Conversation with Bread &amp; Salt Curator Thomas DeMello About the Artist (from the MASS MoCA Website) Marcos Ramírez, known as ERRE (a nod to the rolled ‘r’ of Spanish), was born in Tijuana in 1961. He studied at the Universidad Autónoma de Baja California, graduating with a law degree, and later worked in the construction industry for many years to support his visual art practice. He has been the subject of a number of solo exhibitions at institutions including the Museum of Contemporary Art San Diego, CA (2016), Museum of Latin American Art, Long Beach, CA (2014), MACLA/Movimiento de Arte y Cultura Latino Americana, San Jose, CA (2012), Museo de Arte Carrillo Gil, Mexico City (2010), and Centro Cultural Tijuana, Mexico (1996); he has also participated in group exhibitions at the Oceanside Museum of Art, Oceanside, CA (2017-18); Today Art Museum, Beijing (2016-17); SITE Santa Fe Biennial (2014); the California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); Moscow Biennale (2007); The São Paulo/Valencia Bienal Valencia, Spain ( 2007); Museo Nacional Centro de Arte Reina Sofía, Madrid (2005); Havana Biennial, Havana, Cuba (2000); the Whitney Biennial, New York, NY (2000); and the InSite 1997 and 2000 editions in the San Diego / Tijuana border region. you can View his Current Exhibition through June 2021 At MASS MoCA  For Episodes in Spanish Hosted by Griselda Rosas Subscribe to the Pan y Sal Podcast

Marcos Ramírez ERRE in Conversation with <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt</a> Curator Thomas DeMello About the Artist (<a href="https://massmoca.org/event/erre/" rel="nofollow" target="_blank">from the MASS MoCA Website</a>) Marcos Ramírez, known as ERRE (a nod to the rolled ‘r’ of Spanish), was born in Tijuana in 1961. He studied at the Universidad Autónoma de Baja California, graduating with a law degree, and later worked in the construction industry for many years to support his visual art practice. He has been the subject of a number of solo exhibitions at institutions including the Museum of Contemporary Art San Diego, CA (2016), Museum of Latin American Art, Long Beach, CA (2014), MACLA/Movimiento de Arte y Cultura Latino Americana, San Jose, CA (2012), Museo de Arte Carrillo Gil, Mexico City (2010), and Centro Cultural Tijuana, Mexico (1996); he has also participated in group exhibitions at the Oceanside Museum of Art, Oceanside, CA (2017-18); Today Art Museum, Beijing (2016-17); SITE Santa Fe Biennial (2014); the California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); Moscow Biennale (2007); The São Paulo/Valencia Bienal Valencia, Spain ( 2007); Museo Nacional Centro de Arte Reina Sofía, Madrid (2005); Havana Biennial, Havana, Cuba (2000); the Whitney Biennial, New York, NY (2000); and the InSite 1997 and 2000 editions in the San Diego / Tijuana border region. you can View his <a href="https://massmoca.org/event/erre/" rel="nofollow" target="_blank">Current Exhibition through June 2021 At MASS MoCA </a> For Episodes in Spanish Hosted by <a href="https://www.griseldarosas.com/store" rel="nofollow" target="_blank">Griselda Rosas</a> Subscribe to the <a href="https://podcasts.apple.com/us/podcast/pan-y-sal/id1552589001" rel="nofollow" target="_blank">Pan y Sal Podcast</a>

Marcos Ramírez ERRE

Conversation with Artist Angie Jennings and Bread &amp; Salt Curator Thomas DeMello Angie is our Bread &amp; Salt Artist in Residence February-April 2021 Angie Jennings 1984 born in Bloomington, Indiana, United States angelajennings.net Education 2016 MFA, Visual Arts, University of California San Diego, San Diego, CA 2011 Post Baccalaureate Certificate, Fine Art, Brandeis University, Waltham, MA 2006 BS, Art Education, South Dakota State University, Brookings, SD Anthony Graham on Angie Jennings, HereIn Journal, 2020, https://www.hereinjournal.org/anthony-graham-on-angie-jennings-featured Young, Gifted and Black, the Lumpkin-Boccuzzi Family Collection of Contemporary Art, ARTBOOK D.A.P., Spring 2020 Angie Jennings at Abode Gallery, Contemporary Art Review Los Angeles, 2018,https://contemporaryartreview.la/angie-jennings-at-abode-gallery/

Conversation with <a href="https://angelajennings.net/home.html" rel="nofollow" target="_blank">Artist Angie</a> Jennings and <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt</a> Curator Thomas DeMello Angie is our Bread &amp; Salt Artist in Residence February-April 2021 Angie Jennings 1984 born in Bloomington, Indiana, United States <a href="https://angelajennings.net/home.html" rel="nofollow" target="_blank">angelajennings.net</a> Education 2016 MFA, Visual Arts, University of California San Diego, San Diego, CA 2011 Post Baccalaureate Certificate, Fine Art, Brandeis University, Waltham, MA 2006 BS, Art Education, South Dakota State University, Brookings, SD Anthony Graham on Angie Jennings, HereIn Journal, 2020, <a href="https://www.hereinjournal.org/essays/anthony-graham-on-angie-jennings" rel="nofollow" target="_blank">https://www.hereinjournal.org/anthony-graham-on-angie-jennings-featured</a> <a href="https://www.younggiftedblack.com/book" rel="nofollow" target="_blank">Young, Gifted and Black</a>, the Lumpkin-Boccuzzi Family Collection of Contemporary Art, ARTBOOK D.A.P., Spring 2020 Angie Jennings at Abode Gallery, Contemporary Art Review Los Angeles, 2018,<a href="https://contemporaryartreview.la/angie-jennings-at-abode-gallery/" rel="nofollow" target="_blank">https://contemporaryartreview.la/angie-jennings-at-abode-gallery/</a>

Angie Jennings

Conversation with Artist Carlos Castro And Bread &amp; Salt Curator Thomas DeMello  Carlos Castro Arias was born in Bogota, Colombia and Currently Lives and Teaches in San Diego,CA. His solo exhibitions include The Pain We Create, LA Galeria, Bogota (2019); The Language of Dead Things, Espacio el Dorado, Bogota (2017), Stagnant Heritage, MUZAC, Monteria (2015), Old News of the Present, 21st Projects, New York (2014); and Accidental Beauty, Museo Santa Clara, Bogota (2013). Notable group exhibitions include Doble Filo, Coral Gables Museum, Miami (2019); Comfortably Numb, Another Space, New York (2018); Open Art Biennale, Sweden (2017); Liquid Sensibilities, Cisneros Foundation Grants and Commissions, USA (2016); Space To Dream, Auckland Art Gallery, New Zealand (2016); X Mercosur Biennale, Porto Alegre, Brazil (2015); and O que seria do mundo sem as coisas que não existem?, Frestas Trienal, Sorocaba, Brazil (2014), amongst others. Castro earned a B.F.A. at Universidad Jorge Tadeo Lozano (2002) and an M.F.A. from the San Francisco Art Institute (2010).   For episodes in Spanish subscribe to the Pan y Sal Podcast Hosted by Artist Griselda Rosas

Conversation with Artist Carlos Castro And <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt</a> Curator Thomas DeMello  Carlos Castro Arias was born in Bogota, Colombia and Currently Lives and Teaches in San Diego,CA. His solo exhibitions include The Pain We Create, LA Galeria, Bogota (2019); The Language of Dead Things, Espacio el Dorado, Bogota (2017), Stagnant Heritage, MUZAC, Monteria (2015), Old News of the Present, 21st Projects, New York (2014); and Accidental Beauty, Museo Santa Clara, Bogota (2013). Notable group exhibitions include Doble Filo, Coral Gables Museum, Miami (2019); Comfortably Numb, Another Space, New York (2018); Open Art Biennale, Sweden (2017); Liquid Sensibilities, Cisneros Foundation Grants and Commissions, USA (2016); Space To Dream, Auckland Art Gallery, New Zealand (2016); X Mercosur Biennale, Porto Alegre, Brazil (2015); and O que seria do mundo sem as coisas que não existem?, Frestas Trienal, Sorocaba, Brazil (2014), amongst others. Castro earned a B.F.A. at Universidad Jorge Tadeo Lozano (2002) and an M.F.A. from the San Francisco Art Institute (2010).  For episodes in Spanish subscribe to the <a href="https://podcasts.apple.com/us/podcast/pan-y-sal/id1552589001" rel="nofollow" target="_blank">Pan y Sal Podcast</a> Hosted by Artist <a href="https://www.griseldarosas.com/store" rel="nofollow" target="_blank">Griselda Rosas</a>

Carlos Castro

Alessandra Moctezuma

Alessandra Moctezuma is Gallery Director and Professor of Art at San Diego Mesa College, where she leads the Museum Studies program and teaches courses on Chicano Art. She earned Bachelor of Art and Master of Fine Arts (Painting/Printmaking) degrees from UCLA. She is also ABD for a Ph.D. in Hispanic Languages and Literature at the State University in New York, Stony Brook. Besides teaching and curating, Ms. Moctezuma has been actively involved in the San Diego arts community. Besides being on the board of the Women’s Museum of California she is also a board member of the Women’s Museum of California, Medium Photography and Friends of the Villa Montezuma and the San Diego Museum of Art’s Latin American Arts Council. Ms. Moctezuma has extensive experience as a curator, as an artist and as public art administrator. Besides working as gallery director at Mesa College, Ms. Moctezuma has organized exhibits for the Oceanside Museum of Art (Borderless Dreams, 2005 and Through a Lens Sharply, 2006) and unDocumenta (2017) as part of the Getty’s initiative Pacific Standard Time LA/LA and for the Museum of Latin American Art, Long Beach. LINKS:  Alessandras Website Museum Studies/Gallery at Mesa College Union Tribune  2021 in the arts Bread &amp; Salt Website Pan y Sal Podcast in Spanish Hosted by Griselda Rosas

Alessandra Moctezuma is Gallery Director and Professor of Art at San Diego Mesa College, where she leads the Museum Studies program and teaches courses on Chicano Art. She earned Bachelor of Art and Master of Fine Arts (Painting/Printmaking) degrees from UCLA. She is also ABD for a Ph.D. in Hispanic Languages and Literature at the State University in New York, Stony Brook. Besides teaching and curating, Ms. Moctezuma has been actively involved in the San Diego arts community. Besides being on the board of the Women’s Museum of California she is also a board member of the Women’s Museum of California, Medium Photography and Friends of the Villa Montezuma and the San Diego Museum of Art’s Latin American Arts Council. Ms. Moctezuma has extensive experience as a curator, as an artist and as public art administrator. Besides working as gallery director at Mesa College, Ms. Moctezuma has organized exhibits for the Oceanside Museum of Art (Borderless Dreams, 2005 and Through a Lens Sharply, 2006) and unDocumenta (2017) as part of the Getty’s initiative Pacific Standard Time LA/LA and for the Museum of Latin American Art, Long Beach. LINKS:  <a href="https://amoctezu.wixsite.com/mysite" rel="nofollow" target="_blank">Alessandras Website</a> <a href="http://www.sdmesa.edu/art-gallery" rel="nofollow" target="_blank">Museum Studies/Gallery at Mesa College</a> <a href="https://www.sandiegouniontribune.com/entertainment/visual-arts/story/2021-01-03/looking-ahead-at-2021-in-the-arts-alessandra-moctezuma" rel="nofollow" target="_blank">Union Tribune  </a>2021 in the arts <a href="https://www.breadandsaltsandiego.com/gallery-artists" rel="nofollow" target="_blank">Bread &amp; Salt Website</a> <a href="https://podcasts.apple.com/us/podcast/pan-y-sal/id1552589001" rel="nofollow" target="_blank">Pan y Sal Podcast</a> in Spanish Hosted by <a href="https://www.griseldarosas.com/store" rel="nofollow" target="_blank">Griselda Rosas</a>

 Alessandra Moctezuma

Welcome to the Bread &amp; Salt PodcastOn View- hosted in English by Thomas DeMello

Conversation with Curator, Teacher, Writer and Activist  Adriana Martínez link to ANTiDOGMA Magazine   issue #1  issue #2  issue #3  2019 Exhibition of Irma Sofia Poeter Curated By Adriana for CECUT   Pan y Sal Podcast Hosted in Spanish by Artist Griselda Rosas

Conversation with Curator, Teacher, Writer and Activist  <a href="https://www.instagram.com/adriana_ma_no_/" rel="nofollow" target="_blank">Adriana Martínez</a> link to <a href="https://www.instagram.com/antidogma.mx/" rel="nofollow" target="_blank">ANTiDOGMA Magazine </a> <a href="https://issuu.com/universidaddelacomunicacion/docs/antidogma-nro1l" rel="nofollow" target="_blank">issue #1</a> <a href="https://issuu.com/universidaddelacomunicacion/docs/antidogma-nro2" rel="nofollow" target="_blank">issue #2</a> <a href="https://issuu.com/universidaddelacomunicacion/docs/antidogma_3_digital" rel="nofollow" target="_blank"> issue #3</a> <a href="https://cecut.gob.mx/exposiciones/en/una-y-el-otro-devenir-en-relacion/" rel="nofollow" target="_blank">2019 Exhibition of Irma Sofia Poeter Curated By Adriana for CECUT </a> <a href="https://podcasts.apple.com/us/podcast/pan-y-sal/id1552589001" rel="nofollow" target="_blank">Pan y Sal Podcast</a> Hosted in Spanish by Artist <a href="https://www.griseldarosas.com/store" rel="nofollow" target="_blank">Griselda Rosas</a>

 Adriana Martínez

Conversation with 2020 Bread &amp; Salt Artist in Residence Avia Rose Ramm  Bread &amp; Salt Website Pan y Sal Podcast with Griselda Rosas

Conversation with 2020 Bread &amp; Salt Artist in Residence <a href="https://aviarose.work" rel="nofollow" target="_blank">Avia Rose Ramm</a> <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt Website</a> <a href="https://www.breadandsaltsandiego.com/podcast" rel="nofollow" target="_blank">Pan y Sal Podcast</a> with <a href="https://www.griseldarosas.com" rel="nofollow" target="_blank">Griselda Rosas</a>

Avia Rose Ramm

Marianela de la Hoz b. 1956, México 2014 San Diego Art Prize Recipient her work can be found in collections from Mexico,the USA,Canada, Japan, Dubai,Germany, among others Fundación Cultural Bancomer, México Instituto Tecnológico de Monterrey, México Fundación Cultural Noval, Cuernavaca, Morelos, México San Diego Museum of Art, San Diego CA Museum of Latin American Art, Long Beach CA Artist Website The Mexican Museum  Bread &amp; Salt Website Pan y Sal Podcast  (from the Artists Website) My painting is intimate, like those lockets in which they used to keep the portrait of the loved one, a lock of hair, a love letter. It recreates the internal world of the small drawers of our wardrobe in which we keep grieves and happiness, love and hate, sins, dreams, secrets, guilt and profound feelings that we take out once in a while like with do with a photo album with images of our history and reality. The intention of my work is to make the observer come closer to discover the fine details and once he or she is near he or she will remain captive, getting inside and enlightening the mechanisms of their conscience, giving him or her the opportunity to fix their eyes in those details we often leave unnoticed. The artworks talk about the binds, the closures, the double moral, the atavisms, the “must be”, the separation of body and soul, of body and head. I express violence through fantasy, black humor and sarcasm. I call it “White Violence”, i.e. small format paintings depicting characters nicely groomed, with combed hair and perfect teeth, with only a small drop of blood when necessary, all representing a scene in which extreme situations are performed. The content of my work is based on reality and the paintings confront today’s troubled times. I am inspired by the blood ligatures among human beings, the same weaknesses, addictions and worries, the eternal combination of good and bad in each and everyone, the Dr. Jekyll and Mr. Hyde within ourselves. I am always searching that bond located inside us, in our blood and in our conscience. Like a researcher I put under the microscope a drop of the blood of each theme, each painting, I analyze it without moral judgments, I only observe its composition, hence the small formats, the observer approaches the lens to peer into a miniature world, to introduce a key and enter armed with a magnifying glass, expecting to come close enough to hear a whisper, to feel a pinch, to discover a hidden secret, to crack a smile before a subtlety loaded with black humor. The contents, the formats, the technique, the texts (written thoughts), all conform a different work of art and invite the observer to approach, to get closer and closer, thinking perhaps that by being small they are harmless; and once he or she is close enough, he or she will be trapped in the spider web. Size is not what really maters in a work of art, the impact gets to the observer when he notices more often the minuscule details that are the reflex that builds little by little our own lives. Even though you will find in my work many references about my Mexican heritage the real essence of the themes I depict are inherent to the human beings nature, they become universal. My art could best be described as reality portraiture set in fantastic theatrical scenes, an intimate and sometimes terrifying mirror in which I look at myself and you look at yourself, perhaps finding some personal connection in that nearness.

Marianela de la Hoz b. 1956, México 2014 San Diego Art Prize Recipient her work can be found in collections from Mexico,the USA,Canada, Japan, Dubai,Germany, among others Fundación Cultural Bancomer, México Instituto Tecnológico de Monterrey, México Fundación Cultural Noval, Cuernavaca, Morelos, México San Diego Museum of Art, San Diego CA Museum of Latin American Art, Long Beach CA <a href="http://www.marianeladelahoz.com/index.html" rel="nofollow" target="_blank">Artist Website</a> <a href="https://www.mexicanmuseum.org/marianela-de-la-hoz" rel="nofollow" target="_blank">The Mexican Museum </a> <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt Website</a> <a href="https://anchor.fm/griselda-rosas3/episodes/Marianela-de-la-Hoz--Todo-empez-con-la-leyenda-de-Juan-Manuel-er4p1i" rel="nofollow" target="_blank">Pan y Sal Podcast</a> (from the Artists Website) My painting is intimate, like those lockets in which they used to keep the portrait of the loved one, a lock of hair, a love letter. It recreates the internal world of the small drawers of our wardrobe in which we keep grieves and happiness, love and hate, sins, dreams, secrets, guilt and profound feelings that we take out once in a while like with do with a photo album with images of our history and reality. The intention of my work is to make the observer come closer to discover the fine details and once he or she is near he or she will remain captive, getting inside and enlightening the mechanisms of their conscience, giving him or her the opportunity to fix their eyes in those details we often leave unnoticed. The artworks talk about the binds, the closures, the double moral, the atavisms, the “must be”, the separation of body and soul, of body and head. I express violence through fantasy, black humor and sarcasm. I call it “White Violence”, i.e. small format paintings depicting characters nicely groomed, with combed hair and perfect teeth, with only a small drop of blood when necessary, all representing a scene in which extreme situations are performed. The content of my work is based on reality and the paintings confront today’s troubled times. I am inspired by the blood ligatures among human beings, the same weaknesses, addictions and worries, the eternal combination of good and bad in each and everyone, the Dr. Jekyll and Mr. Hyde within ourselves. I am always searching that bond located inside us, in our blood and in our conscience. Like a researcher I put under the microscope a drop of the blood of each theme, each painting, I analyze it without moral judgments, I only observe its composition, hence the small formats, the observer approaches the lens to peer into a miniature world, to introduce a key and enter armed with a magnifying glass, expecting to come close enough to hear a whisper, to feel a pinch, to discover a hidden secret, to crack a smile before a subtlety loaded with black humor. The contents, the formats, the technique, the texts (written thoughts), all conform a different work of art and invite the observer to approach, to get closer and closer, thinking perhaps that by being small they are harmless; and once he or she is close enough, he or she will be trapped in the spider web. Size is not what really maters in a work of art, the impact gets to the observer when he notices more often the minuscule details that are the reflex that builds little by little our own lives. Even though you will find in my work many references about my Mexican heritage the real essence of the themes I depict are inherent to the human beings nature, they become universal. My art could best be described as reality portraiture set in fantastic theatrical scenes, an intimate and sometimes terrifying mirror in which I look at myself and you look at yourself, perhaps finding some personal connection in that nearness.

Marianela de la Hoz

Alida Cervantes (b. 1972) is a Mexican artist who lives and works in the Tijuana and San Diego border region. Traveling daily between the US / Mexico border, Cervantes’ work is characterized by an interest in power relations between race, class, gender and even species. She explores these hierarchies both at the level of sexual or intimate relationships and on the broad stages of history and politics.  Cervantes earned a BA from UC San Diego, then studied at Florence’s Scuola di Arte Lorenzo de’ Medici.  She earned her MFA from the University of California, San Diego. Her work is part of the Museum of Contemporary Art, San Diego, the Charles Saatchi Collection, London, as well as the Jorge Perez permanent collection. Alida Cervantes Website Pan y Sal Podcast Hosted by Griselda Rosas Bread &amp; Salt website

Alida Cervantes (b. 1972) is a Mexican artist who lives and works in the Tijuana and San Diego border region. Traveling daily between the US / Mexico border, Cervantes’ work is characterized by an interest in power relations between race, class, gender and even species. She explores these hierarchies both at the level of sexual or intimate relationships and on the broad stages of history and politics. Cervantes earned a BA from UC San Diego, then studied at Florence’s Scuola di Arte Lorenzo de’ Medici.  She earned her MFA from the University of California, San Diego. Her work is part of the Museum of Contemporary Art, San Diego, the Charles Saatchi Collection, London, as well as the Jorge Perez permanent collection. <a href="http://www.alidacervantes.com" rel="nofollow" target="_blank">Alida Cervantes Website</a> <a href="https://anchor.fm/griselda-rosas3/episodes/Hugo-Crosthwaite---Luz-en-casa-de-lo-Negro-eqc674" rel="nofollow" target="_blank">Pan y Sal Podcast</a> Hosted by <a href="https://www.griseldarosas.com" rel="nofollow" target="_blank">Griselda Rosas</a> <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt website</a>

Alida Cervantes

Hugo Crosthwaite

Born in Tijuana in 1971, Hugo Crosthwaite grew up in the coastal town of Rosarito, Baja California, 10 miles south of the international border. A graduate of San Diego State University in 1997 with a BA in Applied Arts and Sciences, Crosthwaite is a draftsman, often using pencil or charcoal, who focuses on the figure. He works in a linear fashion, allowing drawings to develop with great detail. All the work is created with improvisation; narratives developing as works are created.   Crosthwaite combines portraiture, comic book references, urban signage, commercial facades, and mythology in dense, layered compositions. Working primarily in black and white Crosthwaite brings characters from allegory and popular media to the stage of the human condition, interacting with the architecture of Tijuana and dreams of the border. The work reflects the character of frenetic urban settings, a border in flux. Fear, hope, pain and celebration are represented together as Crosthwaite elevates the ordinary person to heroic levels showing the trials they endure while surviving in contemporary society. In 2019 Crosthwaite was awarded First Prize at the National Portrait Gallery in Washington DC for the fifth triennial Outwin Boochever Portrait Competition, American Portraiture Today. Crosthwaite's prize-winning stop-motion drawing animation, A Portrait of Berenice Sarmiento Chávez (2018), recounts a woman's journey from Tijuana, Mexico, to the United States in pursuit of the American dream. Whereas stop-motion animations and public mural-making capture Crosthwaite's creation process, the artist's IN MEMORIAM series and other temporary, monumental murals highlight the deconstruction of his work. These are murals that have short lifespans—narratives, that once complete, are deconstructed slowly, piece by piece.   Temporary, monumental, site-specific works include: Column A and Column B: A Continual Narrative Performance (2018 on view through 2020) at Liberty Station, San Diego, California; IN MEMORIAM: Los Angeles (2017) at the Museum of Social Justice, Los Angeles; IN MEMORIAM: Cuenca (2016) at the Cuenca Bienal, Ecuador; Child's Tale (2015) at the San Diego State University Downtown Art Gallery; and Las Carpas (2013) at the Orange County Museum of Art. rosthwaite's work has been included in numerous collective exhibitions throughout the United States and Mexico. Most recently: American Portraiture Today (2019) National Portrait Gallery, 20 Diálogos de Pintores Contemporáneos (2018) El Museo de Arte de Querétaro, IN MEMORIAM: Cuenca (2016) Cuenca Bienal de Ecuador, The House on Mango Street (2015) National Museum of Mexican Art in Chicago, 2013 California-Pacific Triennial at the Orange County Museum of Art, and Morbid Curiosity - The Richard Harris Collection (2012) at the Chicago Cultural Center.  please follow Hugo on Instagram  check your his website listen to his episode in Spanish with Griselda Rosas on the Pan y Sal Podcast

Born in Tijuana in 1971, Hugo Crosthwaite grew up in the coastal town of Rosarito, Baja California, 10 miles south of the international border. A graduate of San Diego State University in 1997 with a BA in Applied Arts and Sciences, Crosthwaite is a draftsman, often using pencil or charcoal, who focuses on the figure. He works in a linear fashion, allowing drawings to develop with great detail. All the work is created with improvisation; narratives developing as works are created. Crosthwaite combines portraiture, comic book references, urban signage, commercial facades, and mythology in dense, layered compositions. Working primarily in black and white Crosthwaite brings characters from allegory and popular media to the stage of the human condition, interacting with the architecture of Tijuana and dreams of the border. The work reflects the character of frenetic urban settings, a border in flux. Fear, hope, pain and celebration are represented together as Crosthwaite elevates the ordinary person to heroic levels showing the trials they endure while surviving in contemporary society. In 2019 Crosthwaite was awarded First Prize at the National Portrait Gallery in Washington DC for the fifth triennial Outwin Boochever Portrait Competition, <a href="http://www.hugocrosthwaite.com/details/2019/npg.html" rel="nofollow" target="_blank">American Portraiture Today</a>. Crosthwaite's prize-winning stop-motion drawing animation, A Portrait of Berenice Sarmiento Chávez (2018), recounts a woman's journey from Tijuana, Mexico, to the United States in pursuit of the American dream. Whereas stop-motion animations and public mural-making capture Crosthwaite's creation process, the artist's IN MEMORIAM series and other temporary, monumental murals highlight the deconstruction of his work. These are murals that have short lifespans—narratives, that once complete, are deconstructed slowly, piece by piece. Temporary, monumental, site-specific works include: <a href="http://www.hugocrosthwaite.com/exhibitions/2018_NTC_001.html" rel="nofollow" target="_blank">Column A and Column B: A Continual Narrative Performance</a> (2018 on view through 2020) at Liberty Station, San Diego, California; IN MEMORIAM: Los Angeles (2017) at the Museum of Social Justice, Los Angeles; IN MEMORIAM: Cuenca (2016) at the Cuenca Bienal, Ecuador; <a href="http://www.hugocrosthwaite.com/exhibitions/2015_word_balloons_001.html" rel="nofollow" target="_blank">Child's Tale</a> (2015) at the San Diego State University Downtown Art Gallery; and <a href="http://www.hugocrosthwaite.com/exhibitions/2013_triennial_001.html" rel="nofollow" target="_blank">Las Carpas</a> (2013) at the Orange County Museum of Art. rosthwaite's work has been included in numerous collective exhibitions throughout the United States and Mexico. Most recently: American Portraiture Today (2019) National Portrait Gallery, 20 Diálogos de Pintores Contemporáneos (2018) El Museo de Arte de Querétaro, IN MEMORIAM: Cuenca (2016) Cuenca Bienal de Ecuador, <a href="http://www.hugocrosthwaite.com/exhibitions/2015_mangoStreet_001.html" rel="nofollow" target="_blank">The House on Mango Street</a> (2015) National Museum of Mexican Art in Chicago, 2013 California-Pacific Triennial at the Orange County Museum of Art, and <a href="http://www.hugocrosthwaite.com/exhibitions/2012_morbidCuriosity_01.html" rel="nofollow" target="_blank">Morbid Curiosity - The Richard Harris Collection</a> (2012) at the Chicago Cultural Center. please follow Hugo on <a href="https://www.instagram.com/hugocrosthwaite/" rel="nofollow" target="_blank">Instagram</a> check your his <a href="http://www.hugocrosthwaite.com/index.html" rel="nofollow" target="_blank">website</a> listen to his episode in Spanish with <a href="https://www.griseldarosas.com" rel="nofollow" target="_blank">Griselda Rosas</a> on the <a href="https://open.spotify.com/show/0WAfwn0pelXGM0mFpRKm3P?nd=1" rel="nofollow" target="_blank">Pan y Sal Podcast</a>

Conversation with Irma Sofia Poeter and Bread &amp; Salt Curator Thomas DeMello. She is a Mexican-American artist who has lived on both sides of the San Diego-Tijuana border. Born in Arcadia, California, in 1963, She currently works and lives in Tecate, Mexico. She recently had a 25 year retrospective at the Tijuana Cultural Center (known by its Spanish acronym, (CECUT) along with a Exhibition at the Front Gallery in San Ysidro. you can read more about the show from the LA Times for episodes in Spanish including a Conversation with Irma please subscribe to the Pan y Sal Podcast hosted by Griselda Rosas

Conversation with<a href="http://www.irmasofiapoeter.com" rel="nofollow" target="_blank"> Irma Sofia Poeter</a> and <a href="https://www.breadandsaltsandiego.com" rel="nofollow" target="_blank">Bread &amp; Salt</a> Curator Thomas DeMello. She is a Mexican-American artist who has lived on both sides of the San Diego-Tijuana border. Born in Arcadia, California, in 1963, She currently works and lives in Tecate, Mexico. She recently had a 25 year retrospective at the Tijuana Cultural Center (known by its Spanish acronym, (CECUT) along with a Exhibition at the Front Gallery in San Ysidro. you can read more about the show from the <a href="https://www.latimes.com/entertainment-arts/story/2020-01-24/irma-sofia-poeter-us-mexico-border-art-retrospective" rel="nofollow" target="_blank">LA Times</a> for episodes in Spanish including a Conversation with Irma please subscribe to the <a href="https://www.breadandsaltsandiego.com/podcast" rel="nofollow" target="_blank">Pan y Sal Podcast</a> hosted by <a href="https://www.griseldarosas.com" rel="nofollow" target="_blank">Griselda Rosas</a>

Irma Sofia Poeter

Welcome to the Bread &amp; Salt Podcast On View- hosted in English by Thomas DeMello

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