Born in 1989 in San Antonio, Texas, mestizo artist Jonathan Treviño received a BFA with Honors in Photography from Parsons The New School for Design's Art, Media, and Technology program in 2013, while concurrently studying philosophy and working as a fashion photography assistant for clients such as Vogue, Dazed Magazine, CLASH, Sephora, and Nike.

He has screened his award winning art-house short film, 'Blue Sweep,' regionally and internationally, receiving the Texas Vision award at the South Texas Underground Film Festival, as well as screening across thirty cities in Romania.

Treviño undertakes meticulous research in his multi-medium, philosophical approach to art in the forms of video, photography, text, graphic design, music, and cinema. His projects seek to unearth the complex reveries and dark reality that lie beneath the coded cultural surface of American history that contrasts with the amorphous glow of proletariat life and metropolitan experience. His reflections on faith, fiction, and memory function to trace back, retrieve, reinterpret, and develop on a hermeneutics of specific places and unconscious feelings while undermining the concept of faith placed in Western notions of objective laws and concepts of universality embedded within image and text based renderings of “truth."


My work is an investigation into the manifold meanings and etymological history of praxis as expressed through aesthetics and symbolic language, wherein concrete historical persons have sought to recreate themselves , as if upon an object, toward notions of liberation or transcendence up to present day, where praxis-based theories of digital change render persons deriving their value from the virtual ability to turn themselves into instruments of their own liberation via access to and creation of shared memory content, rooted in seemingly self-guided, fantasy narratives which parallel inherited Western philosophies about the true, the beautiful, and the good; as reinforced by art history.

Currently, I am drawing upon the language of capitalist living and domestic intimate spaces where, for example, inherited family values may attach themselves to the ones glowing from the screen in the form of "perfect fiction": advertisement, movies, video games, and music videos. These media experiences merge with the interior experiences of the home and vehicle, in which "faith and fiction" are at work in human desires. When in dialogue with a screen, the contents of proletariat spaces become "the substance of things hoped for.”

© 2021 Jonathan Treviño