lourdes jiménez pulido

...un mundo hecho de objetos...

[lourdesjimenezpulido]

reflections

i have been constantly reflecting on my work for the past couple of years now. probably longer, if i’m being honest.

i started my professional art practice in ceramics. never really intending to sell (which is actually internal issues i have of not being good enough to sell my shit) but always grateful to show.

now, i think about the materials i’ve used and the natural resources i have consumed over the years in making it. is that really worth it? can we continue to make ceramic art but with eco-friendly and sustainability in mind. i know that no artist or maker likes to be restricted in any when it comes to self expression and censorship within art practices. of course, this isn’t limited to ceramics. all, or most, types of studio art is very much wasteful and materialistic, and, of course, stemming from a mentality of mass production. make, make, make!

i just finished watching a youtube streaming tour of the Cultivar Gardens out in claremont, california. the two women talking are giving a tour about not only the native plants and foliage in the gardens but also the sculptures sprinkled throughout.

see, i have an issue with this. as ceramic artists it’s difficult to separate yourself from nature or the elements because our clay comes the earth whether you acknowledge that or not. it’s mined (often times, unethically) all over the world, transported, and sold for our sole benefit of making art. also, many artists are inspired by landscapes and mother nature yet we continue to be active participants in its demise. i hear phrases like “climate change,” “eco-friendly,” “sustainability” and others but we contradict ourselves when we don’t change our studio practices to parallel these ideas.

i hope to change my practice resurfacing from this pandemic. it is my intention to limit my ceramic practice as much as i can and only make and fire what i truly need for my work. i also plan to shop for materials but at goodwills and thrift stores, reusing and recycling. my aesthetic will change but it will still be within the same concepts and intentions of my ceramic work.

even for makers who don’t necessarily like nature or enjoy being outdoors, regardless of medium, the outdoors and our urban environments are all connected. the balance is what keeps us going but when we upset one, the other will suffer.

thanks for reading. it’s heavy stuff to deal with and reflect on.

[lourdesjimenezpulido]

Exhibition Statement

perceptions: narratives + dispositions

Janisse Gracia, Victor H, iris yirei hu, Lourdes Jimenez Pulido, and Selina Salazar.

August 26th through September 6th, 2019. Xiem Gallery, Pasadena, California.

Curated by Lourdes Jiménez Pulido

statement

it is fascinating to observe the thousands of interactions that occur throughout the landscape of daily society. furthermore, i find it appealing to move around the city and rippling communities of the greater Los Angeles area and see how people interact all around me. i am interested in the dialogue and interactions that these experiences and encounters begin to weave together for each of us. it is from these small moments in life that we begin to see individual experiences develop and form the fabric of our lives.

with this in mind, i present to you perceptions: narratives + dispositions. the intention for this show was to invite an eclectic and extensive group of individuals from different backgrounds and experiences to create unique objects/environments that provoke thought and emotion. although all of us work using a variety of processes + materials and for the purpose of representing different ideas and concepts, we have created a collective space full of color, personal aesthetics and intention for the purpose of your experience and interaction.

i am interested in why and how individuals make their work, how it reflects who they are and what they feel is important for the public to learn or be aware of. the inspiration to all work presented comes from a variety of personal experiences giving authenticity and consciousness to personal struggles, mental health, political inclinations and stances, with ideas of breaking societal norms, or reinventing cultural traditions.

in our current political national state, we may get easily influenced by thoughts and habits that set us back instead of thrusting us forward. i do not mean to exclusively introduce politics into my practice or this dialogue but political aspects exist in all facets of a person and a society. an open mind to a diversity of experiences reflected in creative objects and installations can be vital to the enrichment of daily life.

we tend to forget who we are individually, where we live, what we have, and what our purpose is when we are bombarded with an overwhelming amount of societal norms and expectations from all media outlets. for me, the goal to life is finding an existence of substance and not fearing or feeling threatened by cultures, people or mentalities different than my own, understanding through communication.

we hope you are able to take some time and engage with each distinct piece.

Thank you for your visit.

Written by Lourdes Jiménez Pulido

[lourdesjimenezpulido]

Exhibition Statement

The Embodiment of Inclusivity: An Exhibition

Zeina Baltagi, Lourdes Jiménez, Narsiso Martinez, and Kimberly Morris.

September 1st through October 20th, 2018. Xiem Gallery, Pasadena, California.

Curated by Lourdes Jiménez

Statement

During these tough political times, our nation is experiencing constant aggression and violence against people of color. We are exposed to it on a daily basis in all branches of the media.

We have become a society that fears those that look and think differently from us. It is a common reaction to fear what we do not understand. BUT in order to lose that ‘fear’ or sense of ‘other’ we first must break down the barriers that divide and continue to separate us.

Inspiration for this group show came from the idea to present different glimpses or flashes from diverse experiences. How can we truly grow and empathize with other people when we continue to surround ourselves in the same places and with the same people? Our personal experiences vary so much that it makes us appear to be extremely different from each other. Nevertheless, we have more things in common than we may acknowledge.

Culture/race/heritage are sensitive words and topics. I believe it is important to understand as much as we can about our own personal histories and origins in order to cultivate an appreciation of all those that came before us. Moving forward tends to be easier when we know where we are coming from.

Verbal interactions between us are also significant. Perhaps we have forgotten how to speak to each other with respect and humility. Even so, sharing our stories with strangers or conversing about narratives passed down from generation to generation have been some of the most beautiful tales I have ever heard.

Included in this show are snapshots, flickers of moments and places from the narrative of these artists’ lives. I hope you find them interesting, curious, and inviting.

This is what inclusivity looks like.

Written by Lourdes Jiménez

[lourdesjimenezpulido]

small light cup with circles, 2020.

i worked in a clay center at the beginning of the year. this was one of the last cups i fired there.

when i make my cups, i intend for people to use them. daily. why buy it if you're not gonna use it?

i am very fond of my pinched coil technique. i mean, look at that texture!

i usually don't share my utilitarian work here but it's part of my practice.

my aesthetic isn't for most.

lourdes jiménez pulido

[lourdesjimenezpulido]

memory, 2009

lowfire clay, underglazes, black stain wash.

this series of works was a jump from my more geometric and typical coiled vessels. but, maaaaan!!!, this is from so long ago! i have always been into hidden things and objects, even now. but in this case, nests. i was obsessed with looking into stuff, maybe things i wasn’t supposed to look at. a sense of curiosity and obsession surfaced while building these types of works.

these coiled and slab built vessels always had something inside them. i just can’t remember what was inside of this one. i do remember putting the hummingbird because my ma always told me they are for good luck.

i miss making the little animals i used to make. but we’ll see if they come back in the future. also, it was fun making enclosed forms + cutting the holes in the surface was one of my favorite things to do. so gratifying!

or maybe i can build vessels again, with small caves around them, and put things inside them?! the possibilities...

lourdes jiménez pulido

[lourdesjimenezpulido]

entre sombras y relámpagos, 2019.

high fired stoneware clay, metallic string, flat house paint (sanded down), installation size varies.

sculptural installations is where it’s at for me. i got into string earlier last year and wanted to play with it a bit more with this installation. with the string in mind, i built these sculptures. i made rings on each sculpture thinking of the string that would eventually be tied to them. the thorns and dots are also something i had previously done but only on functional pieces.

in all my pieces i think about landscape, the spreading of something, the trail it leaves behind, but also the connections that brings everything together. 

i like to see a point of origin in my installations. everything and everyone comes from something or someplace. i thought about the growth of things...of situations. to be the better person and rise above all the shit. these sculptures, therefore, mimic a bloom. the main grub (at the lowest level), underground and unseen, growing and producing little blooms. each of the little blooms also cultivates baby grubs that expand producing tiny leaves. these tiny leaves break the surface to see the fucking light of day! and hopefully mature:)

i love installing my pieces! and other people’s too. it’s so much fun and i miss installing work. 

thanks for reading.

lourdes jiménez pulido

[lourdesjimenezpulido]

búsqueda, 2019.

highfired stoneware clay, wooden frames, altered Lotería cards, cloth, soil, string, found objects, buttons, waxed string. installation size varies.

“búsqueda” means “search.”

búsqueda was actually really fun to install. it took so long, it was a tedious drag but i enjoyed how it came out. i really got into string and color in 2019. this is as site-specific as it gets. i curated this particular show and had to see all the other pieces before i was able to see how my work would flow in.

for this installation, i knew i wanted to bring together pieces from previous works, as i tend to do. i also knew i wanted to incorporate string into it since it is such a strong visual indicator of connectivity. the idea was to make a focal sculpture that would branch out and connect all the other parts of the installation. i like the landscape these pieces ended up creating and i loved how the string running through each piece reminded me of electrical lines out in our surroundings.

glimpses of places and people are represented in the objects here. ideas of spreading, self awareness, hybridity, duality, and growth are manifested in this exhibition.

[lourdesjimenezpulido]

porque tu vida ha vivido en mi, 2018.

found objects, metal, wire, wood, cloth, altered Lotería cards, high fired stoneware clay. installation size varies.

porque tu vida ha vivido en mi translates to “because your life has lived in me.” 

all of my work deals with ideas of family and culture, traditions, narratives and the accumulation of sentimental objects that tell the stories of our lives. i had gone to méxico a couple of times in the past two years. one of the things i collected during those trips was an apron from a local tianguis in a town close to where my parents grew up.

that was the inspiration for the piece. at the time i was there, my grandma was still alive. it was the last time i saw her. she passed a couple of months after i came back. this got me thinking of all the people that have come into my life, my journey in art, and the places i want to still visit.

the piece begins with white geometric objects spewing more white objects. the objects are white but immediately begin to get mixed with color and other media. i wanted this piece to visually express growth from a formal mentality to a more authentic and cultural one. i fought bringing my culture in my work for a long time but i was just kidding myself.

i am my culture and the history of my family. all of my family. and i regret so much not having spent more time with my grandma when she was still here. it is a burden i carry with me every day. i see her in the aprons on the wall and in the purple ribbon tied in her memory.

gracias.

lourdes jiménez pulido

[lourdesjimenezpulido]

and finally, above all else, it is about leaving a mark that i existed: i was here. i was hungry. i was defeated. i was happy. i was sad. i was in love. i was afraid. i was hopeful. i had an idea and had a good purpose and that is why i made art.

felix gonzalez-torres

[lourdesjimenezpulido]

Chíngale, stoneware, cloth, wire, acrylic paint, 25 in x 10 in x 25 in, 2017.

[Chingar is probably the most commonly used bad word in all of méxico. Its origins have negative associations but in contemporary times, it has come to also include positive expressions and affiliations. It can be used to define any of the following expression or emotion: annoyance, irritation, anger, contempt, excitement, impatience, associates negativity to any object or person it is referred to, horseplay, physical violence such as blows or punches, cool/badass/awesome, admiration, reverence, can express disbelief, can refer to time or distance, or without doubt it is the most popular way to say ‘go to hell.’]

‘Chíngale’ is a piece I made reminding me to always look at the positive side of situations and circumstances. Duality and bilingualism is something I deal with on an everyday basis. I choose both sides of my identity; always and unapologetically a mexicana living in the States. Always, for my parents who gave up their American dreams so that I could have mine. 

With all that life throws at us, we keep going, moving forward, blooming, and making it work. ¡a chingarle! 

[lourdesjimenezpulido]

Lourdes Jiménez, MFA Graduating Thesis Exhibition, Museum of Fine Arts, Florida State University, Tallahassee, Florida, April 10th to May 1st, 2015.

Our stories begin writing themselves from the very first moment we draw breath. Through choice and exposure we go through life adding chapter after chapter to these tales. My work revolves around the accumulation of these experiences and the narratives that such memories fabricate. These everyday alterations, natural exposures, and inevitable transformations are consequently converted and reflected in my work through found objects and hand built clay sculptures.

Brotes de Cuentos is the visual accumulation of my life experiences thus far. Its components are arranged in an abstracted map-like formation, cultivating from the origins of where my parents and ancestors came from in southwestern Mexico, expanding into the rich soils of Southern California, and continuing its growth across the country, blooming in the wake of my footsteps.

With the assistance of shadow boxes, colorful backgrounds, and enclosed vessels my work speaks of events and places that only exist at particular points in time. Through the use of ceramic wall sculptures, color, texture, pattern, and spatial organization, I lay out before you selected glimpses of my life. These moments will forever remain suspended, eternally simmering, in their unique localities.

[lourdesjimenezpulido]

...the making of Brotes de Cuentos...MFA Thesis Exhibition 2015, Florida State University.

this workload was unreal. but fun too! don’t get me wrong:) 

simultaneously, i was spending so much time in the clay studio building my ceramic sculptures (three different designs for each of the walls), on breaks i would drive around to all the thrift stores around Tally looking for shadowboxes, sometimes i wouldn’t find ANY. then, i would also be: either making, recycling, asking for, or finding objects that i could use to put in the boxes.

once a shadowbox was obtained, i would rip out anything they had inside, clean it up, sand down the frames to make them look worn, sometimes i would use a sealer that would color the wood a bit if it was too light, then i would paint them. only then, would i decide where the box would go and what it would contain within it.

i also had to decide what colors to use for the wall, how the color pattern would flow from one wall to the other, the layout of the ceramic sculptures with the shadow boxes and so forth. 

once the sculptures were built, they had to dry and get fired the first time. they then cooled, i applied a black wash on them, sponged off any excess color and had them dry a bit. then they would go into their final firing. once they were out of the final firing, i had to start testing how i would hang them on the walls. 

i was working with wayne, the gallery manager, to brainstorm on how the sculptures would hold. we had more than a week to install. i was there every single day. long hours. long days. long weeks.

painting the different shades on the wall took SO long. i had to tape everything off first, get different tones in each color, paint as many strips as i could at one time, let those dry, and then layout where the boxes and sculptures would go.

i didn’t know what to do with myself when it was all over.

i did ALL the work, except some of the strips on the yellow wall were painted by mr scott bell. i was so grateful. i will never forget it. thank you!

[lourdesjimenezpulido]

Clay Keeps Tally: a community engaged and site-specific clay hunt! Created and organized by Lourdes Jiménez.

December First Friday, at the Plant Gallery on Gaines Street from 3pm to 10pm as part of the You Are Here: an Exploration, a collaborative exhibition featuring three of FSU art professor Paul Rutkovsky's classes, Art Alleys workshop, Experimental Drawing, and the Drawing 2 class.

Using the Gaines Street and surrounding communities as the backdrop for this project, I handcrafted thirty-one ceramic mugs, all of which are individually coiled and pinched, then embellished with the names of places, facts, opinions, or thoughts that reflect my time here in Tallahassee.

As the natural forces of life push us each day to move forward I based my clay hunt layout on the fibonacci spiral. It originated inside the Plant Gallery and spiraled outward ending at the FSU campus, up near the art department.

This project was conceived with the purpose of informing the public the value of hand crafted objects and the connections and memories they create in our lives.

Being aware of the time and energy put into each of these objects, then realizing they were being given away to complete strangers, motivated participants to go in search of these unique objects. The connection of maker and public, the public connecting with each other, and the connection of the public with the actual object were all purposely embedded to further enrich this experience.

After the objects were found, a sense of completion and fulfillment filled the experience of each participant. It was an absolute delight to interact with the Gaines street and Tallahassee communities that come out to First Friday every month.

There is nothing truer than the selfless gift of time and creativity. Time and experiences shared can never be undone. In this time of giving, make the most of what you can, when you can. Happy Holidays!

Thanks to everyone that came out and participated and special thanks to Amanda French and volunteer Karribean for assisting when they could!

[lourdesjimenezpulido]

Lourdes Jiménez

Garden of Change, 2014.

A social participatory event held at The Plant Gallery and Art Alleys, Tallahassee, FL. October 11th from 4pm to 7pm during the annual Gaines Street Fest 2014.

Themed with the changing of the seasons, individuals were invited to participate in creating clay objects that would represent a change both emotional or mental that they've been wanting to let go of or discard.

This creation was then "planted" and exposed to the elements. The piece will dry out, crack, and eventually wash away. The disappearing of the object would symbolize closure to each individual, expelling it from the body, transferring it into an object and observe that object sink and disappear into the earth. 

Social and interactive practices such as this brings people together and opens up a dialogue for art and, in this case, clay. People were so eager to participate and be included in this project. Once it began it picked up momentum that carried it out until the end. 

I would, of course, like to thank every single person that came out and participated. The discussions and interactions were so enriching. It was way more that I imagined it to be. I met so many interesting people and I look forward to this happening once more.

Thank you.

[lourdesjimenezpulido]

Lourdes Jiménez

the day i diverged, 2014.

ceramic, painted wall, 20" x 12" x 10"

-A growth in bloom, that diverges and makes its own path, changing both physically and internally yet never forgetting where it came from and incessantly reflecting the environment that birthed it.

[lourdesjimenezpulido]

Lourdes Jiménez

The Space Between Point A and B, found images, wood frame and glass, 13 ⅞ x 13 ¾ x 1 ⅞, 2014.

Images that inspire and motivate. They visualize ideas or aesthetics that internally manifest themselves.

[lourdesjimenezpulido]

Lourdes Jiménez

From The Inside Out, fired clay, found objects, wood frame and glass, 9 ⅞ x 7 ⅞ x 1 ½ inches, 2014. 

Objects tell a story. They have history and experience associated with them. We as individuals collect these objects which in part help to fill the gaps of our stories as well.