Synthesis & Subversion Redux: The Reconstruction of Stereotypes

The original show of Synthesis and Subversion: A Latino Direction in San Antonio occurred in 1966, and was curated by Frances Jean Colpitt. The exhibit showcased works from San Antonio-based artists Jesse Amado, David Padilla Cabera, Alejandro Diaz, Franco Mondini- Ruiz, Ana de Portela, and Chuck Ramirez, through conceptual reflection on their Chicano heritage. This sparked controversy, as Chicano artists felt this group did not represent the mainstream ideologies of the Chicano art movement. Since then, Chicano art has been reconstructed to accept not only cultural pride, struggles, and social issues, but reflects themes of identity and analysis of stereotypical societal roles. 

This is evident in Ruby City’s Synthesis and Subversion Redux, which shows the change in contemporary art practices compared to those in 1996. Utilizing found materials, the exhibit offers new perspectives on themes explored in the original, as well as new conceptualization of references to the body through contemporary methods. This exhibit features Latinx artists practicing in the 21st century demonstrating the expansion of the culture, and acceptance of all identities within the art realm. 

Installation photography of José Villalobos' "En la reflexión del machismo I" [In The Reflection of Machismo I]. Credit line: Linda Pace Foundation, Ruby City, San Antonio, Texas. Photographer: Jorge Villarreal.

One of José Villalobos’ pieces, En la reflexión del machismo I [In the Reflection of Machismo I], challenges the toxic masculinity of machismo by deconstructing a familiar symbol of Mexican culture. Utilizing mirrored aluminium, Villalobos recreates the elaborate western Vaquero design typically found on cowboy boots worn by the norteños. Symbolic for their Mexican heritage and cultural identity, Villalobos reclaims this icon into one that reflects his own expression of self as a member of the LGBTQ+ community. José Villalobos’ expresses these sentiments through his artist statement on his website, stating “I demonstrate the battle between the acceptance of being maricón and assimilating to cultural expectations.” Not only does Villalobos deconstruct this symbol, but he confronts and alters the meaning of maricón. Known as a derogatory term for queer individuals, Jose Villalobos redefines the word by controlling the narrative in which the term is used. Showing that derogatory language does not restrain his character and has no power over him.

Installation photography of Bárbara Miñarro's "Entre Tu y Yo" [Between You and I]. Credit line: Linda Pace Foundation, Ruby City, San Antonio, Texas. Photographer: Jorge Villarreal.

Installation photography of Bárbara Miñarro's "We Are Staying Put."  Credit line: Linda Pace Foundation, Ruby City, San Antonio, Texas. Photographer: Jorge Villarreal.

Bárbara Miñarro highlights her experience of being an immigrant. She challenges the complex nature of having Deferred Action for Childhood Arrivals (DACA) status in a country whose government continuously attempts to revoke that protection. The DACA program was designed to protect young adults, who were brought to the U.S. as children, from deportation and to offer them temporary, renewable work permits. Entre Tu y Yo [Between You and I], ​​matches the dimensions of a section of the border wall constructed during President Trump's first term. Its construction is of fabric collected from family and friends on both sides of the wall, representing a physical existence of unity between two communities divided through politics. The 100 blocks of fabric are sewn together with lack of stability and structure. This is a statement to the weakness of the border built, and the strength from the flexibility of a community united. 

Another fabric work by Miñarro is We Are Staying Put, which mimics human body parts hugging the corner of the wall. In connection with her other work, Entre Tu y Yo, I am once again reminded of a growing amalgamate that can transform and adapt to the constant changes of the environment around them, representing the courage and resilience of immigrants to an oppressive government. We Are Staying Put provides hope in security  for immigrants to build a home and life in the U.S., which is a luxury for many  U.S. citizens.

When I see these works, I am inspired by the confidence in one's identity and rejection of stereotypes that society perpetuates, because art provides sanction for artist exploration. These artists are fueled by situations that normally destroy one's perspective of life. José Villalobos finds empowerment in En la reflexión del machismo I by reclaiming traditional, conservative Mexican imagery to be embracive of an LGBTQ+ identity, blending the two to show the amalgamation of identity. In Entre Tu y Yo and We Are Staying Put, Barbara Miñarro humanizes her experience as a displaced immigrant, manifesting a physical representation of her confidence and strength, rather than conjuring fear or anger. Villalobos and Miñarro find a way to express themselves and create a learning experience that forces viewers to acknowledge problematic stereotypes of the Mexican and Chicanx experiences. 

When I saw this exhibit, my eyes were opened to the realities and weight carried by people repressed in contemporary times and how they navigate the world around them. I hope you all go to experience the same, as it is our duty to step out of the comfort of our lives into the everyday lives of these individuals.

Synthesis & Subversion Redux is on display at the Studio at Ruby City until September 28, 2025.