Today we’d like to introduce you to Michael Anthony García.
Michael Anthony, we appreciate you taking the time to share your story with us today. Where does your story begin?
I’d entered undergrad with poetry and short story science fiction as my creative goals before discovering the poetics of objects and imagery that opened me up to more varied forms of expression and eventually changed my major to visual art. I’d always made work and performed in many different ways but had not considered them to be my preferred media because “artist” was a title I’d not yet felt comfortable enough to use. Over time, it was the continual act of making work and immersing myself in the experience of creating it that helped me realize that that’s exactly what I’d been my whole life, whether my work had fit others’ definition or not. As my practice has always been born of my own experiences or observations, and especially now that I use it as a means to better express the politics of living in a brown body in the US at this time, the act of making the work is especially meditative and a means of processing the emotion of it all. It was a gradual process of growth from an imposter syndrome mentality to defining the word “artist” on my own terms. When I wasn’t afforded opportunities, I created them for myself and others and that is now a foundation of both my studio and curatorial practices.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
I’m nearly done with my Masters in Fine Art with the School of the Art Institute of Chicago, but again it was that tendency to fall into imposter syndrome mentality that kept me from pursuing this chapter of my professional life until I was older. With the aesthetic and conceptual approaches I explore in my work not being the norm in the white Eurocentric art history cannon and the contemporary art world in general, I had to change my frame of mind and continue to create what felt right/ real to me in spite of that obstacle or the temptation to alter my approach to be “successful”. I had to stop thinking that the academic concerns of my work couldn’t be valid in certain settings, eventually integrating writing back into my practice to fortify my entire creative drive.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
My practice manifests itself through performance, sculpture, installation, photography, video and the blurred areas between them. I engage these media via the exploration of my own personal stories and experiences navigating the human condition. Much of my work explores my layers of identity, how they shape me and affect my perception of/ by the world around me, in a political expression of Latinx Futurism founded in emotion and utopian projection. Collaging objects, ideas and stories, I approach my work as practices (much like yoga or meditation) through which I can embody (perhaps in futility) an emotional positivity, “going through the motions” and “faking it till I make it.” This is in parallel to the way our bodies react positively and release endorphins when we force a smile. My practice acts as a way to project hope into the world with humility and humor to improve myself and hopefully in turn, the world.
Networking and finding a mentor can have such a positive impact on one’s life and career. Any advice?
Being an artist means receiving countless “rejection letters” from various opportunities you apply to because your work might not be a fit for the curator’s core idea or perhaps integrate with the work of other artists who are also part of the pool. This does not mean your work is “rejected” though, and especially not because it isn’t “good”. There will always be disappointment in not being able to follow through with an idea you’d like to develop, but you don’t have to take it personally. Keeping that in perspective is important. Additionally, you might not be a good fit for this project the curator’s working on now, but they very well may keep you in mind for something else down the line. As far as connecting with other artists, be it a mentor or networking with others in your field, always be yourself and strive for sincerity in your work and those who are inclined to appreciate you for who you really are will cleave to you and you can either start or join a genuine supportive community in the process. No one knows or can do everything and finding those who you can lend a hand, as you do the same, while friendships develop is imperative. Also, I’ve always found my greatest success in creating opportunities and projects for myself and other artists rather than waiting for letters telling me I am a fit for a particular project or exhibition. This leads to exposure, conversation and connectivity. Resilience and gumption are key!
Contact Info:
- Website: mrmichaelme.com
- Instagram: @mrmichaelme
Image Credits
David Bellesen, Gabriel Cristóver Pérez
