Artist of the Week

Luis Gutierrez

January 14, 2025

Luis A. Gutierrez is a visual artist from Colombia who lives and works in New York City. Through painting, research, and exploratory techniques, Gutierrez creates multilayer paintings and installations that explore the intersection of identity, collective memory, and colonial legacies. His practice draws inspiration from repressed and misconstrued historical events. Gutierrez has actively participated in various art exhibitions and programs: The Bronx Museum Biennial (2024), The Shed, NYC (2023), The Cherry Arts (2023), GoggleWorks Center for the Arts (2019), and the Coral Springs Museum of Art (2015). He has also been awarded residencies, fellowships, and grants such as The Saltonstall Foundation for the Arts, the City Artist Corps Grant in NYC, and Artists in the Marketplace. In 2016, Gutierrez received the Launchpad Artist Award by Spectrum Miami Art Fair.

Tell us a little bit about yourself and what you do.

My name is Luis A. Gutierrez, and I’m a visual artist working at the intersection of identity, collective memory, and colonial legacies. Through my work, I aim to connect our past and present by exploring historical events. I’m originally from Cali, Colombia, but I now live and work in New York City. 

What are some recent, upcoming or current projects you are working on?

I recently had the incredible opportunity to show Las Nueve Demandas (The Nine Demands) at The Shed. This mixed-media installation utilized hand-sewn layers of oil-painted canvases and screen-printed images to explore the narrative of United Fruit Company workers in Colombia in 1928. I am very proud of this work because it lived in my head for over three years until I was able to make it a reality. It is also my most ambitious project up to date. 

I’m currently in a transition period; I am doing research for my next series. I am exploring the colonial legacies in the Americas, particularly the impact of sugar as a force that affected millions of people through slavery and indentured labor. This significant historical moment allowed diverse cultures to come together and blossom in new ways.

This part of my process is the discovery phase, during which I use everything I learn and the materials I collect to influence and determine the outcome of my next series. 

Las Nueve Demandas (The Nine Demands) | 2023 | Oil paint, acrylic, ink and thread on canvas | 90” x 204” x 192”

What is one of the more significant challenges you and/or other artists are struggling with these days and how do you see it developing?

The biggest challenges for artists in New York City include the lack of affordable studio space, high real estate costs, and low pay within the art industry. Many of us work as art handlers, educators, or administrators with lower pay than in other sectors. These challenges are becoming more difficult to overcome. However, as creatives, we always find ways to thrive and continue contributing to culture.

How do you see your work evolving in parallel to things that are going on around you right now?

My work evolves alongside my growing awareness of how historical systems, like colonial empires, continue to shape the world around us. As I delve deeper into understanding these structures and their lasting effects on society, I understand how they influence our present-day realities. This understanding not only informs my creative process but also challenges me to explore new ways of addressing these themes through my art.

Cargando y Descargando | 2024 | Oil paint, Embroidery floss and Ink on canvas | 12″ x 9″

How do you think your work operates in different contexts/environments?

My work interacts with its surroundings depending on the piece. Some works command attention by occupying large spaces, while others are more intimate, designed to be hung on a wall. For example, the installation Las Nueve Demandas invited viewers to walk between nine sections of two-sided paintings suspended from the ceiling. This installation transformed the space into an immersive environment, encouraging the audience to engage physically and emotionally with the work. 

Do you have any daily rituals?

I have a daily morning ritual that consists of a 20-minute meditation and 30 minutes of mobility exercises before starting my day. These help me be more focused and relaxed.

An Untitled Installation | 2023 | Oil paint, thread and ink on canvas, metal wire, and wooden dowels | 60” x 72” x 24”

Does your work come from any one place or environment?

I am interested in learning about specific subjects and timelines throughout the Americas. However, I continue to study the history of the northwest coast of Colombia, which was a very strategic area during colonial times.

What is your process like, and what materials do you use?

I begin each work by exploring physical and digital archives, sourcing images I screen-printed on canvas or paper. I also paint with oil, charcoal, and oil pastel on canvas, creating abstract color studies. Using a squeegee, I allow the paint to flow, mixing different colors and creating textures on the surface. At the same time, I paint translucent black paintings on canvas. Then, I cut and assembled the painted studies and images in no particular order, allowing my studio process to reign over so that every painting continuously changes as layers of materials are added or subtracted —bringing unique characteristics and depth to the final composition.

El Trabajador #2 | 2024 | Oil paint, embroidery floss and ink on canvas | 12″ x 9″

Do you conjure a narrative when making certain pieces?

In my latest series, Entre Sombras, I focus on an event known as La Matanza de Las Bananeras, a violent moment in US-Colombian history that resulted in the massacre of thousands of Banana plantation workers in 1928. Through the use of images of plantation workers, their families, and their surroundings, I pay homage and reshape narratives about their lives. 

How has your work evolved over time?

My work has evolved to become increasingly three-dimensional. While I was trained as a painter and started with traditional techniques, I’ve developed a passion for using space as a key element in my practice. This shift has allowed me to push the boundaries of conventional painting, incorporating installation elements to create more immersive and interactive experiences for viewers.

Lo Invisible, Una Fruta Tropical | 2024 | Acrylic paint, and ink on canvas | 120” x 90”

What was the last show you saw that stuck out to you?

The last show that struck me was Guadalupe Maravilla’s Solo show at PPOW Gallery in March of 2024. I was very impressed by the use of material and spiritual feel. 

Do you consider collaboration an important part of making?

I currently work alone in my studio, but I like it when I can exchange ideas with curators and artists; they make me see my work in different ways. 

I would love to collaborate with other artists, artisans, and people from different fields. Collaboration is essential to enrich one’s work and practice.  

What are you really excited about right now?

I am excited to see what comes out of my current research phase. New ideas are forming in my head, and I am already sporting out images to use.

In regards to your making, what is something that you’ve always wanted to do and are working towards achieving it?

I believe in dreaming big, and one of my lifelong aspirations is to create an installation that occupies the iconic rotunda space at the Guggenheim. The space’s unique architecture offers endless possibilities for an installation, and I’m working toward achieving this goal by continuing to expand the scale and ambition of my work.

Lo Que Nos Dejaron | 2021 | Oil paint, oil pastel, thread, ink on paper and canvas | 64” x 43”

Can you share one of the best or worst reactions you have gotten as a result of your work?

One of the most heartwarming reactions to my work came during the opening of Las Nueve Demandas. A paisano, a fellow Colombian, approached me to express deep appreciation for the theme of the piece, which focuses on bringing hidden and often misconstrued history into contemporary art. Their gratitude and connection to the work reaffirmed the importance of shedding light on these narratives and creating work that resonates on a personal level.

 

Interview conducted and edited by Liam Owings