Any city is composed of surfaces: walls, streets, sidewalks, fences and traffic boxes. A citizenry negotiates these spaces, maneuvering through the rhythms of their working lives, craving diversion to offset quotidian complacency. There is a deep impulse in urban individuals to see and be seen by the architectural rectangles that surround, contain and guide them to their destinations—sometimes woefully perceived as their destinies—and when those blank walls shout out “the words of the prophets”, when they are painted with murals that provide aesthetic and cultural and political purpose, the city becomes a living answer to the daily question of living. You can agree or disagree with what you see. You can favor one style over another. You can question the civic investment or the tag-and-run guerilla intrusions. “You can walk together by the postered walls and the crude remarks”; but, by that point the city has transformed into a reflection of its citizenry, of its multiplicity, and there is a very good chance that you can look at the buildings around you and find your face, identify yourself, and gain assurance in claiming an identity.
Boise was as glaringly white as it was clean when I relocated from the Bay Area in 2011, and I use neither of those adjectives in any approbative way. It was unnerving. There was a dearth of street art which—as far as I was concerned—was a euphemism for cultural death. Where were the murals? Where was the sidewalk art? Where was the decalismo of inventive and subversive stickers stuck purposely where the sun did shine? As someone who has monitored street art for decades, I would flee back to San Francisco for the colorful multi-ethnicity of BART and MUNI—which felt like a breath of fresh air—and the ubiquitous street art with its many faces, its many races, staring back at me, sometimes with raised fists to stress a relevant politic, sometimes just to be beautiful, some fleeting, some eventual landmarks.
In recent years, Boise has become a true city (and not just because we finally got a Trader Joes). The advent of Treefort Music Fest and an admirable civic commitment to public art have paved the way for generations of local artists to create music and to paint the rectangular screens of downtown Boise so its citizenry can see itself reflected and magnified. One such muralist who has gained prominence in recent years is Bobby Gaytan.
As profiled at Treefort’s website: “Bobby Gaytan is an artist and community advocate based in Meridian, Idaho. With a deep passion for street art and graffiti, Bobby blends urban aesthetics with professional creativity. After earning a BFA in Graphic Design from Boise State University in 2001, he transitioned into a professional career as an illustrator, bringing bold, graphic imagery to life through both digital and traditional mediums.
“As the owner of Blakbook Pages, Bobby creates a wide range of art, specializing in murals and illustrations that capture the vibrancy of local culture and the energy of the streets. His work is a reflection of a life devoted to both artistic expression and community engagement. Beyond the canvas, Bobby is a passionate community activist, working to inspire and support young people through creativity, hard work, and dedication.”
It was with great respect that I approached Bobby Gaytan for interview.
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Michael Guillén: Bobby, thank you for being willing to answer a few questions for my Treefort coverage. I know you are under pressure from our current administration’s treatment of federal workers, but I deeply admire your continuing gratitude towards life and how—even as so much is being taken away—you continue to give through your artistry to the Treasure Valley community.
Can you lay out for me whatever training you had to become an artist and why it is you have chosen to practice public art? How does public art further your personal vision? Are there any muralists who have influenced you?
Bobby Gaytan: I have a bachelor's degree in Graphic Design from Boise State University (2001). Since the early 90s, I've admired graffiti and street art. As a teenager growing up in South Texas, I started to draw and experiment with spray paint. Just like Keith Haring, I too love the idea that public art is for all to enjoy and experience. Over the years, I've witnessed graffiti and street art become more accepted globally.
I admire muralists like El Mac, Mr. Aryz, OS Gemeos, Belin, Nychos, David Flores, Smugone, and others who are shaping contemporary street art. Creating in public spaces has allowed me to express my cultural identity, share my creative vision, and connect with the community.
Guillén: Few Chicano/a/x and Latino/a/x artists have gained access to express themselves and their communities in public spaces here in the Treasure Valley and you have been more successful than most. But let me backtrack a bit. I’m from California so I identify as Chicano; but, you’re from Texas, so do you identify as Tejano? Is it important to situate our identities geographically? And, if not, what would be a good term to identify us all as a single community?
Gaytan: I was born here in Idaho but yes, my family is from Texas. I grew up immersed in Tejano culture and Chicanismo. As a former migrant farmworker I learned about the farmworker movement of the 60s and 70s through my mother, Maria, a community activist who helped migrant families. Being Chicano means embracing Indigenous roots and standing up for my people. As an artist, I draw inspiration from my experiences to create, and I value authenticity over labels. While I identify as Chicano and see Raza as my community, I believe that people should embrace whichever identity resonates most with them.
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| "Groovin' / Guitar Bob" (2013). |
Gaytan: The Boise public art scene has greatly evolved over the past 20 years, with strong support from the city. In 2013, I applied for an art grant to create public art for the Treefort festival and was selected. I chose to paint a mural in downtown Boise, specifically "Groovin" or "Guitar Bob," which became my first large-scale mural in Boise. At that time, Freak Alley was still developing, and prominent murals were scarce in the city. The mural has since become a staple of downtown Boise, receiving positive feedback from both locals and visitors for over 10 years.
Guillén: Since “Groovin”, which two mural projects have been the most representative of what you are trying to do with public art? I know that’s something of an unfair Sophie’s Choice kind of question; but, I’m intrigued by how an artist evaluates themselves. I know for myself it’s always my most recent art that I like the best. Is that true for you? Would your recent commission honoring J.J. Saldaña be among your two favorites?
Gaytan: "Groovin" is definitely a mural that represents my style. "Flowers for J.J." was a very personal experience to honor my friend and a community leader. It has been my favorite so far for sure. I recently completed a project at Calle 75 Tacos in downtown Boise. That project gave me a different creative experience along the lines of an interior designer. They will reopen just in time for Treefort.
Guillén: I know you have strong ties to the Chicano/a/x and Latino/a/x communities here in the Treasure Valley. Like myself, you come from a farmworker background and gracefully retain great respect for farmworkers even as you have moved out of the fields and onto walls. How did you negotiate that transition? Will you be participating with the upcoming Farmworker Awareness Week as you have in the past and—if so—what will be your contribution? Does any of that dovetail with Treefort?
Gaytan: I never imagined as a young migrant farmworker kid I would be where I am now. I learned to work hard and always chase my dreams. I've always been proud of my farmworker history and continue to use art to bring awareness and a different perspective to that kind of life.
This year at Treefort I will be showing new art at Tropico FM Showcase [website] at The Basque Center as well as be painting live by the mainstage alongside Sector Seventeen [website] and other artists. The live piece I'm painting will be in honor of Farmworker Awareness Week.
Guillén: Both of your Treefort engagements—the “Coatl: Ten Perspectives” Artfort initiative, as well as the Main Stage live mural painting—are inherently collaborative. Can you speak to how working collaboratively differs from your independent projects? How were these collaborations organized for Artfort? And can you speak more generally how interacting with Treefort has been for you?
Gaytan: I've always felt comfortable collaborating with other artists or organizations that are doing positive work in our community. What I love most about collaborating is getting the opportunity to mentor or share my knowledge with other artists as well as exchange ideas.
For the past 5 years I've been part of the Tropico FM Art Showcase originally organized by Kyle Schef. Each year we try to make it a better experience by presenting the art more professionally and introducing local artists from our community. This year's theme "Coatl: Ten Perspectives" was introduced by Marianna Jimenez Edwards. Miguel Almeida has been the lead artist coordinator for the show and Maria Ayala has helped organize the space and how the art is presented. Being part of Treefort has been a good experience because I get to network and meet new artists in our community.
Guillén: I’m aware that you have founded Blakbook Pages, but I couldn’t find much information about that project. Could you outline its objectives and future project goals? I’m also keenly interested, as you’ve already mentioned, in your commitment to furthering the artistic vision of young people. Can you speak to why that is important to you and how you have gone about to achieve it? Are there any up-and-coming Chicano/a/x and Latino/a/x artists you have an eye on and feel Boiseans should pay attention to?
Gaytan: Blakbook Pages was a passion project I started in 2004. My goal was to build an artist community by showcasing local artists through a zine that included art, poetry, fashion, music, and other creative scenes at the time. I distributed the zines at local shows and various shops around Boise. Ultimately, I published 10 issues. I continue to use the name Blakbook Pages as a creative business. I still feel it is important to help mentor young artists whenever possible.
For the past 15 years, I've been part of the Stay In School Quinceanera Program where I teach art classes to 8th and 9th graders at the Idaho Hispanic Community Center.
Guillén: I would like to address your personal style. How would you describe it? I see an impressive range from realistic figuration—as in the mural you painted for the Boise Co-Op in Meridian and your beautiful Mothers Day portraits (including “La Mariposa”, which you painted for the Wassmuth Center for Human Rights)—to almost caricaturical images that come across as very “street” with a touch of the graffiti spraycan aesthetic.
Gaytan: My personal style is always evolving. I like to push myself as an artist by exploring new mediums, techniques and ideas. When I was younger, I remember it took me a long time to call myself an artist. Eventually I found my creative voice. Caricatures and graffiti were my first introduction to art so it's probably why it's more natural to me to create in that style. As time went on I started using more traditional mediums and techniques.
Gaytan: As an artist, I like to capture moments that remind me of my family growing up. Especially my Mother's kitchen. I think art is a good way to create dialogue and to take the audience to a certain place and time. When I think of Sopa de Fideo con Carne y Papas, I think of my childhood. I remember coming home from school and my mother having a big pot of this wonderful dish on the stove waiting for us. She prepared this dish anytime of the year. Not only is it delicious and easy but it’s very affordable and it goes a long way. We always had it with a bowl of beans on the side and freshly made flour tortillas. Here is my mother’s recipe.
MARIA GAYTAN'S SOPA DE FIDEO CON CARNE
Ingredients
1 lb. 80/20 ground beef
1 cup chopped onions
3 small / medium green onions
¾ cup diced green bell pepper
2 Serrano peppers (optional)
1 large cubed Russet potato
3 large garlic cloves
1 tsp whole cumin
1 tsp peppercorn
4 oz Fideo (Vermicelli brand)
1½ tbsp chicken bouillon tomato flavor (Knorr brand)
14 oz diced tomatoes
Cilantro as needed
7 cups water
Salt as needed
Vegetable oil as needed
Preparation
First, cook your ground beef in a large pot until it loses its pink color. While the ground beef is cooking, grind your spices (cumin, peppercorn, garlic and a little salt) in a molcajete. Add water and set the molcajete aside.
Add your onions first to your ground beef while it's cooking. Then add your serrano peppers (optional). Next add your green bell peppers as well as the spices from the molcajete. After cooking for a couple of minutes, add the tomatoes, cilantro and your chicken tomato flavor Bouillon (Knorr). Finally, add water and a little salt then let it simmer for 15 minutes.
While the carne is simmering, cut your Vermicelli fideo in small sizes and toast them in a pan with vegetable oil until they are golden. Add potatoes to the carne for 5 minutes. Then finally add the golden fideo and let simmer on a low boil for a few minutes. Enjoy your Sopa De Fideo Con Carne!!
Gaytan: I borrow a lot of imagery in my art from my experience living in the barrio of Alamo, Texas and the farmlands of Idaho and Michigan. I think that makes my art unique in that sense.
Guillén: Flowers—which do have a strong Precolumbian antecedent—seem to be an important iconographic element for you (notably in “Flowers for JJ”); can you say why?
Gaytan: Flowers have always been important to me because they remind me of my Mother. When my Mother was alive, it was a tradition of mine to give her flowers throughout the year. As a kid I picked wild flowers and made bouquets for her. I incorporate flowers and butterflies in my art in honor of her.
Guillén: Thank you, Bobby, for taking the time to talk with me. I’m so proud to have your piece “Tecalmas O Te Calmo” in my art collection and remember laughing when you admitted that, yes, indeed, your mamacita had smacked you with a chancla now and again. I apologize for laughing because, of course, being smacked with a chancla is no joking matter.
See you at Treefort!!
