Jonathan Treviño (b. 1989) is a Native American Latinx artist who uses contemporary iconography and art history as testimony of our relationships to commercial objects, media, issues of gendered consumption, and art culture while drawing from experiences of twentieth century consumer society to investigate the ravages of American cultural desire at large, family life, and queer identity as they intersect with and arise out of the struggle between matter and meaning within Western philosophy, religion, and notions of law over time.
While investigating the generational effects of christianity and law on family relationships, particularly between parents, children, and LGBTQ individuals, Treviño's works focus on the construction of American identity and the absurdity of the quest for self-perfection as evidenced by luxury vernacular; rooted in colonial religious values and material notions of The New in art, media, and technology.
Through works ranging from installation and performance to found object sculptures and portrait photography, Treviño's art works function as expressive through lines betwixt understanding the numinous reveries and longings of proletariat city life and between meditations on Earth matter in the form of memetic sensory pathways toward accessing ancestral memories about the worlds we used to live in; spiritual experiences which may reveal themselves to us in solitude, in sleep, through the screen, and in the city after dark.
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, jewelry design at the Fashion Institute of Technology, and working in NYC as a fashion photography assistant and Producer on jobs for clients such as Vogue China, DAZED Magazine, Art Basel, JUXTAPOZ, CLASH, Sephora, Highsnobiety, Redbull Music Academy, VICTORY Journal, ESPN, Comedy Central, and Nike NYC. Treviño's award winning art-house short film, BLUE SWEEP has screened regionally and internationally, premiering at the Tobin Center for Performing Arts as part of the 2018 San Antonio Film Festival, shortly after receiving the Texas Vision award at the South Texas Underground Film Festival, Drafthouse, Corpus Christi, selected for the Oaxaca Film Festival, Mexico, as well as screening across thirty cities in Romania as part of the SHORT to the Point Film Festival before being selected to screen at Hemisfair, San Antonio for Luminaria 2019.
After four years living and working in New York City, Treviño returned to San Antonio with a new found love and understanding of his hometown, its history, and people, with the ultimate goal of uplifting the SA community and city to international status as an art and film hub, recognizing his city of origin as a place with a unique message and voice that, with enough support, exposure, and funding will continue the narrative of American art in a way which is integral to that history but yet to be fully understood in academia and popular culture at large.
My work is an investigation into the manifold meanings and etymological history of praxis as expressed through the aesthetics and symbolic language of North America over the last 300 years, 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 now render persons deriving their value from the virtual ability to seemingly 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