“Arte-Sano: Soy libre porque pienso” by Salvador Jiménez-Flores Presented at Belger Crane Yard Gallery
The Belger Crane Yard Gallery in Kansas City is the chosen canvas for the latest exhibition of renowned artist and ceramist Salvador Jiménez-Flores. The eloquently titled exhibition “Arte-Sano: Soy libre porque pienso” has captivated the attention of art connoisseurs for its philosophical depth and intricate craftsmanship. The phrase “Arte-Sano” translates to “Craftsman,” which when hyphenated plays on the words “healthy art,” with “sano” meaning healthy or sane. The second part, ‘Soy libre porque pienso,’ echoes the philosophical notion of René Descartes, “I think; therefore, I am.”
Emergence from Immigrant Experience
The exhibition’s title presents a nuanced reflection on the hitherto controversial narrative of immigration. Jiménez-Flores, a first-generation immigrant himself, explains his thought process about breaking the word “Arte-Sano.” He refers to the notion of freedom, which is inherently tied to individual creation, an expression of one’s perception of the world, and their role as citizens.
Jiménez-Flores’ rejection of the capitalist construct of art as just another commodity is a significant aspect of his art practice. Instead, the artist emphasizes on the therapeutic aspects of art that help maintain the mental and physical well-being of its readers.
A Journey from Graphic Design to Ceramics
Originally a graphic designer, Jiménez-Flores is now an assistant professor in ceramics at the School of the Art Institute of Chicago. For him, drawing remains an essential aspect of his art practice. For him, it is a form of translation of one’s thoughts and ideations into tangible pieces of art. His five-year experience in commercial designing provided him with great exposure to the foundational elements of art, which he now incorporates into his work.
His introduction to ceramics happened through a friend who invited him to a charity event for an after-school program, where artists were invited to design plates for ‘pozolada.’ This experience inspired him to change his elective classes to ceramics.
Central Themes and Techniques
Employing a diverse range of materials, including palm weavings, glass, clay structures, poured metal work, prints, photography, and drawings, the exhibition is a creative feast. The ceramic studies of a jaguar, a mystic symbol in Mesoamerican culture, is represented in a deflated or disfigured drinking vessel, offering a different perspective to viewers. Furthermore, photographs from the “Kajne: Hombre Palma Serie” showcase the artist in woven palm mantles and face-covering bucket hats, creating surreal images that play with the viewer’s perceptions.
Homage to Ancestral Traditions
Jiménez-Flores’ work also highlights different forms and materials traditionally used by his ancestors. For example, the palm sculptures developed during a residency in Mexico, are based on simple materials and reflect the intricate techniques of the master weavers. These pieces show the collaboration of Jiménez-Flores with the traditional weavers, who amalgamated their traditional practices with the demands of modern art forms.
This amalgamation of tradition and modernity in Jiménez-Flores’ works makes his exhibition a unique experience for art enthusiasts. The exhibition is on display at the Belger Crane Yard Gallery until June 8, 2024.
