Alright – so today we’ve got the honor of introducing you to Javiera Estrada. We think you’ll enjoy our conversation, we’ve shared it below.
Alright, Javiera thanks for taking the time to share your stories and insights with us today. Can you tell us about a time that your work has been misunderstood? Why do you think it happened and did any interesting insights emerge from the experience?
Due to the broad scope of my work and myriad of mediums, I have found conventional art platforms- at times- don’t know what to do with me. I mostly use a camera to create my work but I don’t feel that I am a traditional photographer. Many people mistake my photographs for paintings as they have a more ethereal quality. I like to experiment, as my favorite part of the creative process is when I’m learning- to me that is the most exciting. Maybe it’s because I give myself grace when I’m learning something new, I put less pressure on myself to have it be “perfect”. It’s good for me to challenge my perfectionism and the best way is to let go of the outcome and embrace the messiness.
My work varies from colorful photographic abstracts to traditional black and white to collage to cyanotypes. People want to pigeon hole you into a category that they understand or can recognize. I conscientiously knew it would be a longer path in regards to getting career recognition, however, I am content and creatively satisfied I took the path less traveled.
Javiera, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
I am a multi-media disciplinary artist. I was born in Acapulco, Mexico and moved to the U.S when I was 7 years old. My scope of work is broad and includes photography, mixed media, photograms, film, and textiles. I’ve been an artist since I can remember and loved painting on walls or (much to my mother’s chagrin) smashing her dishes from a ladder just to hear that glorious sound of breaking glass. My “creativity” got me into a lot of trouble when I was young.
I believe my art is influenced by memories of growing up in Acapulco-a tropical paradise of vibrant colors, steeped in spiritual ritual and magical realism. This mystical affinity for bridging the gap between the conscious landscape of reality and the subconscious world of the spiritual can be seen throughout my work. Philosophically, I reject Cartesian dualism and its compartmentalization of the whole, embracing a worldview of interconnectivity and unity consciousness. Artistically, I’m seeking to unify the mundane and the sacred.
I examine these themes of interconnected consciousness in a multitude of ways-from incorporating female bodies as sculptural forms in organic communion with nature, to creating galactic primordial environments with inks—fluid and formless, structures representing the “prima materia,” original essence of existence. The juxtaposition of shadow and light play a recurring role in my explorations as well, representing the internal struggle between the spiritual and the physical.
At the moment, I am fascinated by technology’s effects on nature and humanity. My new photographic series Back to the Future: Life in Technicolor, exalts nature and primordial traditions, using saturated, surreal, and vivid hues to evoke the hyper-pigmented virtual worlds that captivate our attention in the digital age.
Modern living, increased time spent indoors, a heavy reliance on electronic devices, and reduced exposure to nature, I believe contributes to what journalist Richard Louv terms “Nature Deficit Disorder.” This condition manifests in various physical and emotional disturbances, along with a diminished use of the senses and attention difficulties.
As an artist, I’m revolting against the stark contemporary digital space, which is why I chose to shoot Back to the Future: Life in Technicolor on film cameras using experimental film techniques. The landscapes were primarily shot in Yellowstone National Park, where the oldest rocks are 2.7 billion years old.
I believe that by going back in time to embrace the wisdom and traditions of our ancestors—through rituals, community bonding and immersing our spirits in nature— we can embark on a journey of healing and connection, creating a healthier, brighter future for us all.
My solo show Back to the Future: Life in Technicolor, will be exhibiting at the Jonathan Carver Moore Gallery in San Francisco Nov. 2-Jan. 6.
For you, what’s the most rewarding aspect of being a creative?
The most rewarding aspect of being an artist is the privilege to create as often as I can. To be in flow state is a pretty spectacular way to spend your day- it is inspired action and meditative.
Unfortunately, I don’t get to make art every day. What most people don’t realize is that being an artist is not quite as romantic. Art is also a business. There are daily emails to respond to, clients to see, archiving and cataloging the work, printing and framing, social media, organizing of files, text for work, and the list goes on. Sometimes months go by before I pick up my camera!
The days I get to be in my studio creating are the best days. I am deeply grateful for the times I am able to birth my visions into reality. That to me is heaven on earth.
What’s a lesson you had to unlearn and what’s the backstory?
When I was in my early 20’s, I was extremely naive and had the blind confidence of youth. I had no clue how to navigate the gallery/art world. I’m not even a painter, but I fancied myself one after I made some art therapy of my ex boyfriend being decapitated by my paint brush. (I went through a dark Frida Khalo phase). When I think of this story, I cringe. In hindsight, I didn’t know any better, but it still makes my insides tingle.
In Los Angeles, there is a row of galleries called Bergamont Station, which is home to some pretty established brick and mortar galleries. I had photographed my so-called “paintings” and made a little portfolio and decided to march into each gallery and said I was looking for a gallery and asked them if they were interested in showing my work. Of course, they were all super snobby and got rejected each time. I didn’t understand why they were being so choleric, until I met the loveliest woman who obviously saw my dejected face and took me aside and asked, “Are people being unkind?” As I nodded my head, she educated me about the way the gallery system worked. I had no idea that people didn’t go around offering their work to be shown. I learned a huge lesson and to this day, it still works for me. I never pursue, but rather let people pursue me. All of the work, projects, money, offers, career opportunities that I’ve experienced in my career, has never been from me seeking them out, but rather from a place of receptivity and solely focusing on my creativity. As an ambitious person, this isn’t easy and has caused a lot of frustration, however, as I’ve evolved and matured, I now find peace in the “waiting”.
Contact Info:
- Website: www.javieraestrada.com
- Instagram: javieraestradaartist
- Facebook: https://www.facebook.com/JavieraEstradaartist
- Linkedin: https://www.linkedin.com/in/javiera-estrada-552b0546/
Image Credits
Photography by Javiera Estrada