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Paper Trails Bernardo Diaz

Artist Bio

Bernardo Diaz is an artist, educator, and administrator who resides in Austin, TX. Diaz received his MFA from the Meadows School of the Arts at Southern Methodist University. A first generation Mexican-American, Diaz was born in Rochelle, Illinois and spent his formative years in Eagle Pass, a southwest Texas town on the border with Mexico. Diaz’s work explores notions of identity and currently works around three formal conceptual frameworks: embellishment, omission, and revision. Diaz is vehemently non-committed to a specific medium and his work manifests in the form of paintings, drawings, collages, text, socially-engaged projects, and grassroots organizing. Diaz has also worked alongside various art organizations including the Public Art Selection Committee for the City of Dallas, Art Love Magic, Big Thought, and is a critic for Peripheral Vision Arts, an online art journal focused on emerging artists. In 2013, Diaz was included in the Dallas Pavillion, a tongue-in-cheek exhibition in print that debuted at the 55th Annual Venice Bienneal. In 2014, an essay and selection of Diaz's work was published in Aztlan: A Journal of Chicano Studies at UCLA's Chicano Studies Research Center. He currently serves as assistant professor of art and assistant department chair at Austin Community College. Diaz loves his two pet dogs, who he promised to mention in his bio; their names are Trixie and Loki.

"Sorted Matter," paper, tape, ink, paint on wood panel, 10" x 8", 2020
"Disco Fried," paper, vinyl, ink on wood panel, 12" x 9", 2020
Art is not a thing, but a way. We each have our own way and my way is informed by my biography. This biography, in turn, is informed by a set of histories.
"Haven," paper, tape, ink, paint on wood panel, 12" x 12", 2020
"A Healing Curse," paper, paint, ink on wood panel, 12" x 9", 2020
These histories are the narrative of everything that came before me, and as such, have manifested in my identity as a border-dwelling, queer, Chicano man. As a consequence of conquest and dominion, these histories are often incomplete or fragmented.
"Bubble Gummer 2000," paper, paint, ink on wood panel, 14" x 11", 2020
"The Land of Lump," paper, paint, ink on wood panel, 12" x 9", 2020
The words and images that make up my personal narrative have been affected by a process of historical revision, omission, and embellishment; a process that results in both concealment and revelation.
"The Cosmic Roll," paper, vinyl, paint, ink on wood panel, 12" x 9", 2020
"Rose Water," paper, paint, ink on wood panel, 10" x 8", 2020
My work takes the tools of storytelling, the word and the image, and pushes them through a similar process of revision, omission, and embellishment. This process results in glyph-like objects that conceals an origin and reveals a new hybrid image. To engage in this process is to learn from the process as it emphasizes the power of words and images while simultaneously revealing their fallible nature.
"Peace Meal," paper, vinyl, paint on wood panel, 14" x 11", 2020
"Velvet Prick," paper, tape, paint on wood panel, 10" x 8", 2020
The meaning of the words and images used in each composition has been obscured, inviting the viewer to share in my experience of making sense of what they see before them.
"The In-Between," paper, vinyl, tape, paint on wood panel, 14" x 11", 2020
"The Brink of Pink," paper, paint on wood panel, 14" x 11", 2020
"Dimmer," Digital (Procreate), 18" x 12", 2020
"Se Suben Las Cosas," Digital (Procreate), 20" x 16", 2020
"Heller Yeller," Digital (Procreate), 20" x 30", 2019
"Crystal Slippers," Digital (Procreate), 14" x 11", 2018
"Hatshepsut," Digital (Procreate), 17" x 11", 2017
"Idle Idol," Digital (Procreate), 17" x 11", 2017
"Ban the Man," Digital (Procreate), 17" x 11", 2017
"Potpurri," Digital (Procreate, 17" x 11", 2017
"Six Degrees of Desperation," Digital (Procreate), 17" x 11", 2017
"Fool Figured," Digital (Procreate), 11" x 8.25", 2017
"Procession," Digital (Procreate), 12" x 12", 2017
"Tricky Horde," Digital (Procreate), 20" x 16", 2019

©BernardoDiaz2020

Credits:

Bernardo Diaz