Napoleon Aguilera
Napoleón Aguilera's artistic practice is characterized by a strong influence on materials, regional idiosyncrasy and active collaboration with different crafts; His interest in artisan disciplines leads him to constantly experiment with production methodologies and the way in which he connects with new agents and its codes. The work frequently draws upon strategies such as humor and double meanings to address and introduce speculations on topics as disparate as cockfighting, criminal slang and rumors that spread on the web. He emphasizes the formal results in forceful and very detailed objects, drawings and actions.
Instagram : napoleon_ag
* This Interview is published in Issue 4
Hi Napoleon, tell us about your background. How and when did you first start to making sculpture?
I studied architecture in Guadalajara Mexico. Back in 2005, there were not many options in town to study art unless you went to Mexico City or abroad, I noticed that architecture school could be an adequate option for all my interests, ITESO University had a good reputation in the creative fields and appeared the right direction to take. It was in the middle of my studies that I realize some of my projects did not fit entirely the expected outcomes that the discipline required which made me feel a little bit restricted, luckily some of my teachers encourage me to explore further in this path. Something I’m grateful for is the rigor the school gave me: do proper research on context & materials, have a clear visualization and materialization of ideas, strictness on deadlines and budgets while still having fun. All of that helped shape the core of my art practice.
When I finished my bachelor’s degree and started developing my art projects I had a thing for materiality, labor and handcraft, somehow drawing, 3d modeling and even painting became a process rather than actual artworks to achieve physicality. This became very organic due to the fact that my job as an architect was pretty much like this: I had to design and build houses, collaborate with a lot of people ranging from engineers to artisans in the process in order to materialize those ideas, so you can say I started making sculpture when I made my first architecture project. A lot of my oeuvre if not all of it brings multiple disciplines and techniques together sometimes is very evident others not so. It all depends on the nature of the project and the specific interests that I might have at the time.
What is your process like? How do you begin to work?
Most projects start with curiosity about a particular topic. The main sources I turn to are images found on the web, books, specific crafts or cultural phenomena that trigger my attention and provide info I can play with. Often I get caught up working on several topics at the same time which can be both stimulating and stressful. The next step is the drawing phase a key component in my oeuvre, the irreverent and humoristic approach in this stage is the backbone of the physical objects because here is where I merge all the ideas with the materials and desired techniques. The last step is developing the object with different agents, I work with jewelers, prop makers, 3d and metal workers… you name it, it all depends on the intention of the project. In this phase, every technical problem opens the space for intuition and spontaneous resolutions, which are always welcome.
Humor and double meanings seem to be important elements in your artwork, allowing you to address diverse topics such as cockfighting, criminal slang, and internet rumors. How do you incorporate these strategies into your art, and what do you hope to achieve by introducing speculations on such disparate subjects?
For me humor acts as an escape from the quotidian, shifting our point of view on how we interact with certain scenarios and objects in our life. I’m sure there are plenty of roads to approach our relationship to existence but my preferred strategies are irreverence and humor, when I develop a new project it gives me the freedom to play with a lot of factors and create new narratives, challenge the use of materials, shift the system of things or simply distort established rules. When you see things from another perspective, you push yourself to evolve beyond your boundaries, trigger your imagination in new ways and that is fascinating, especially when you incite other people to do the same, that’s my intent. For example, in my project “Pesados” (literary meaning heavy) a series of cowboy boots and hats are carved in volcanic rocks like basalt and obsidian creating a game of words between the object’s properties and Mexican criminal slang. The word "pesado" not only describes the physical properties and dimensions of these objects but also how this expression is used colloquially to describe high-ranking figures within Mexico’s organized crime. I decided to make cowboy boots and hats because in popular culture there are certain dress code stereotypes related to these “heavy” dudes. The label and the certificate of the artwork show the dimensions in kg instead of cm to complete the double meaning. Each of these boots weighs 10 kg.
How various materials play an important role in your creation process?
Each material responds to a specific project, it has to be coherent with the idea I want to convey, which means I’m constantly changing production methodologies so I have to engage in new discussions and research in order to explore its power, even carving volcanic stones like basalt or obsidian has specific procedures. Collaboration with other professionals is crucial to becoming aware of the limitations or possibilities like the particular tools to employ to get the job done. Sometimes a specific craft or material set off a new project as well, it can be a round process.
How has the city you live and work in influenced you and the art you create?
Guadalajara has a rich full handcraft tradition and an effervescent artist community, renowned architects and artists have shaped the city’s reputation. Working in the second largest city in Mexico gives all the benefits of any metropolis but without the excessive rivalry of the capital to get noticed. For me is super inspiring to make connections with fellow artists and see what they are into, having the opportunity to get involved with diverse workshops like clay, metal, wood or stone encourages me to shift my process and be able to take risks.
Related Pages
Interview with
