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Michael Guillén: I’ve studied Precolumbian iconography for decades, and have watched the welcome and creative appropriations of Teotihuacan, Toltec, Olmec, Aztec and Mayan motifs by Chicano/a/x and Latino/a/x artists, primarily in California in the Bay Area through exhibition spaces like the Mission Cultural Center and Galería de la Raza. My own art collection revolves around Mayan themes, drawing from the work of Patssi Valdez, Juana Alicia, Calixto Robles, Mario Romero, Tony DeCarlo, and several others. When I relocated to Boise, Idaho, I was delighted to discover your community work, along with Bobby Gaytan’s. I’ve been fortunate to acquire one of Bobby’s paintings but have yet to secure one of yours. Let me articulate why it is that I want to eventually include you in my collection.
I see in your artwork a similar practice of claiming and incorporating our cultural legacies; but, what I find singularly unique in your expression is your palette. Whereas most of the artists I know have gone the way of bright, primary colors, you have chosen instead a range of specifically-hued pinks, yellows and blues. Can you speak to me of how you have incorporated Precolumian imagery into your work and how you have melded it with contemporary formats (i.e., skateboards, stickers), and why you have chosen your particular palette to do so?
As far as incorporating Precolumbian imagery, I do draw inspiration from it and do my best to honor it in a way that feels right to me. Like a large majority of Mexicans, I am Native American mixed with some Spanish but due to colonization I don’t really know what specific indigenous culture my ancestors were a part of. I have some ideas through family research but nothing 100% certain. I don’t want to step on anyone's toes, but I try to do my best to honor my Native American roots through my art. To me it feels like an act of resisting colonization and reclaiming something my ancestors were killed or punished for.
Almeida: I use the term “heavy line work” to describe my art because there is a lot of line work involved. I don’t paint shadows or light in my work but often use lines to create the effect of a shadow or to define an object. It’s more of a graphic style similar to the result of a linocut work.
Guillén: In an admirable “danger, Will Robinson” move, you landed on robots for your design of beer cans for local brewery Lost Grove. Lost Grove is also one of the participating sites of Treefort’s “Back Rooms” Artfort initiative. Speak to me about your commercial interaction with Lost Grove, how you decided on robots for the campaign, and how you’ll be representing at Treefort. Will you be participating in the “Back Rooms” program? Will you be painting a window or mural during the festival?
Almeida: The Lost Grove Robot beer collaboration was a fun one. I grew up being a big fan of Mega Man and Gundam anime so getting to design robots was something new but something the kid me would have loved. I was working with Lost Grove on launching their Artist Residency project that involved designing labels for their more specialty barrel aged beer and they wanted me to design some of their Hazy IPA beer line. I had a lot of fun doing it. It’s always nice to be able to tap into the kid in me and create something for fun but still make it feel like my art.
I’ll be doing a couple things at Treefort this year. I’m helping organize an art show with Marianna Edwards, Maria Ayala and Tropico FM at the Basque Center. The show is called “Coatl: Ten Perspectives” and I recommend coming to check it out; it should be really cool. It’s all Latino/a/x artists and we’ve got some heavy hitters in our community with some younger artists too. Tropico FM does a great job to make sure we have a space to be represented and usually we have Musicians from Latino America performing.
I’ll also be painting a live mural at the main stage Wednesday—Sunday. There are a few of us from the “Coatl” show that will be painting a mural live. Shoutout to Sector Seventeen for making it happen. It’ll be a good time hanging out with all the artists and painting. Aside from those two events that I’m doing, hopefully I’ll be able to catch some shows and enjoy being outside.
Guillén: In a distinct Wassup Rockers vibe, you’ve elevated patinetas to subcultural prominence. I know you’ve been a skateboarder for a couple of decades and so it seems a given that you would want to take your work to the street not only through your murals but through your sidewalk traffic. We have a major skate park in downtown Boise. Has Treefort created any kind of event there that you have participated in?
Almeida: Treefort puts on Skatefort with Boise Skateboard Association and Prestige Skateshop. In the past I have donated some apparel / stickers from my Brand Raíces to give away for kids who land tricks. It’s super cool and always fun to be there skating with everyone.
Guillén: Talk to me about the relevance of public art and representing and providing presence to Chicano identity in our community. I should qualify that question. I grew up in California, so I identify as Chicano; but, I have friends who don’t feel comfortable with that term and go by Tejano. I’m not sure what the appropriate appellation would be here in the Treasure Valley. Mexicano? How do you identify?
Almeida: I use both Mexican and Chicano but I identify more as Mexican. As a first generation Mexican American that grew up in Idaho, to me Mexican represents me and my history more. I grew up in a very traditional Mexican family. If we were in the 70’s, though, I’d identify more with Chicano for sure. I’m all about fighting for our people and challenging oppressive systems set in place to harm us.
Guillén: Back to the relevance of public art, can you speak to what it means for you?
Almeida: Public art to me is a very special opportunity that many Mexican / Chicano artists in Boise don’t always get. I never take the opportunity lightly so I always try to create something that represents me, my family, and my community because it's rare to see our stories being told and celebrated in public spaces. I grew up in Marsing / Caldwell, Idaho, so growing up I never saw art in public that reflected me or my family. I love that public art is accessible to everyone. I always think about my parents and tíos who have probably never gone to an art gallery and how they can experience art in public. I love seeing my community's reaction to seeing familiar stories, objects and our community being celebrated. I hope kids who grew up like me can get inspired by it and dream of being an artist. That is something I didn't have growing up but hope the future generations have.
Guillén: I’m aware that you have done great work in Garden City and I’m wondering if you can contextualize your efforts there? With Treefort's offshoot Flipside being venued in Garden City, have they assisted your initiatives? I want to emphasize my admiration and respect for the political aesthetic that runs through your public art, not only in minority representation, but also in causes you believe in (such as climate change). I’m further aware that you were the first artist chosen for the Garden City Climate Action Artwalk sponsored by Conservation Voters For Idaho and that you’ve collaborated with the Garden City Placemaking Fund, which I first heard about through a public lecture sponsored by Flipside. Can you speak to where the Garden City initiatives are at this point, if anything is coming up?
I haven’t had any involvement with Flipside Fest. I think they might have used the mural in a video, but that might be all my involvement. [Laughs.]
To be honest, I’m not too sure on the situation of the Garden City Placemaking Fund. I know it is still around and helping folks with first-time mural opportunities. I think without funding it’s really hard for it to grow as fast as they’d hoped. I’m glad it is still around though and hoping one day they get the funding for future public art opportunities. It's a really cool organization and I owe alot to them for giving me my first mural opportunity. Mural work for me really blew up after those first two murals. That’s their mission: helping artists get mural experience and being a resource with a large pool of experienced artists / muralists.
Guillén: Will you be speaking during Treefort in conjunction with National Farmworker Awareness Week (particularly in response to Trump's disrespect of the contributions of farmworkers to the well-being of the American economy)?
Almeida: As for the talk with National Farmworker Awareness Week, I won’t be a speaker on that panel. I’m sure the mural I paint will, for sure, be a response to all the disrespect and hate we are enduring.
Guillén: Finally, I’m always interested to hear where musical interests lie. Is there anyone you’re excited to hear at Treefort this year?
Almeida: To be honest, I haven’t seen many bands on the line up that I recognize. I might have to take a deeper look. So far the only ones I can think of are Ramona and LA LOM, who I haven’t seen before.
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