Jodie Herrera & Remote
Location: 1715 15th street in the alley
A mural dedicated to and inspired by the activism of Autum Peltier, water protector and Chief Water Commissioner for Anishinabek Nation.
About the Artists:
Jodie Herrera was born and raised in New Mexico and has identified and worked as an artist her whole life. She received formal training at the University of New Mexico where she graduated with a BFA Honors and a focus in painting in 2013. She currently resides in Albuquerque, where she works as a full time Photo Realism Oil Painter, Muralist, Illustrator, Mixed-Media Artist and Curator.
She works locally on her main project, where she creates semi-photorealistic oil paintings portraying women that have persevered through trauma. Herrera takes great care with each story, building personal and supportive relationships with each of her participants. She uses symbolism from their culture and personal interests to visually narrate the painting and accompanies each piece with a write up that explains it in detail. She strives to celebrate the beauty and resilience of these women and hopes that they can provide inspiration for others.
Women Across Borders, is an International Arts and Activism project. She specifically works with refugee and immigrant women and creates paintings that illustrate their personal journeys. She provides monetary and emotional support for all her participants and hopes to bring attention to the issues they face and have overcome, as well as to educate and activate others around the subject.
Her Murals are meant to reflect the culture, history or mission of the space in which they inhabit. They are also meant to create awareness around certain people of impact or social justice issues that are relevant to space and the time it’s created in.
Jay Bellicchi “REMOTE” is an American artist, designer, sculptor and creator who developed in 1980s Boston’s hip hop and graffiti culture, where he was given the name REMOTE. He is known both for the dynamism of his geometric and boldly colorful mural work as well as for his inventive, conceptual transformation into sculptural works of the tools he uses to paint murals. The nexus of his formal and conceptual practice is a marriage of graphic design and graffiti culture, of tension between mapped geometric order and rogue, boundary breaking. Inspired by the constant birth, decay and rebirth of the rigorously designed yet constantly improvised urban environment, Jay’s mural work is a kind of sacred street geometry of mark-making which is formally driven by the dynamic relationship between planned process and spontaneous creation or action, wherein each piece takes an underlying symmetry and then explodes it. In Jay / REMOTE’s studio series he repurposes recycled spray painting tools to form tributes to the idea of the artist’s continual evolution as a combination of organized process and a rebellious, organic relationship to his environment. Each resin skull in the SPRAYSKULL series literally encapsulates the idea of the graffiti artist’s daring by the amorphous amassing of spray tips all used to make marks in various places throughout the urban environs, while his resined, geometric mosaics made from pounded and cut empty spray cans form mandala-like visual narratives to the artist’s experience.
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