by Sean Byrne, Publisher, artsee magazine
I attended the opening reception on September 8 for Sueños Americanos/American Dreams: The Art of Cornelio Campos at the FedEx Global Education Center at UNC. Unfamiliar with the work of Cornelio Campos, I was curious to see it. The Center’s website described it as “Modern yet traditional, and deeply personal, the paintings of Cornelio Campos illustrate complex realities of migrant life that are often concealed.”
Cornelio Campos in front of his work “Antorcha Guadalupana,” oil on canvas, 2007. Photo by Donn Young.
This is a large show, with works displayed throughout three floors of the Center. The paintings have a folkloric sensibility: lots of vivid color, highly illustrative, and compositions filled with complex symbology that create intriguing, if sometimes puzzling, narratives. The Statue of Liberty rises over an open field flanked by the Virgin Mary and a modern city under construction. Hovering over the field is a UFO, emitting a tractor beam, and buried below are human skulls and relics of Pre-Columbian art.
What does all this mean? They are stories, stories being told by Campos, about his unique set of experiences and observations. Some are about the history and culture of his native Mexico. Others are about cultural identity or current issues, such as immigration.
I was fortunate enough to meet Cornelio Campos at the reception. He greeted me with his limited English, we shook hands and he smiled. A quiet man, with a gentle gaze, I looked forward to hearing his remarks (delivered with a translator). I wanted to learn more about his work, and the artist himself.
Below is the transcript of Campos’s remarks. What struck me the most about what he said? The universality of our experiences as artists. In Campos’s own words:
“I remember as a child looking through the magazines and cartoons of my favorite superheroes. I admired the illustrations in encyclopedias—at the library, and especially in the one my father bought for our family… At age 12, a family friend invited me to the city to take drawing classes … in Guadalajara, Jalisco. This opportunity to leave the village for the first time exposed me to public places with murals by famous painters such as José Clemente Orozco.”
Whether in Mexico or the United States, or anywhere else in the world for that matter, don’t all of us who create art remember the fascination in childhood of discovering the beauty of visual communication? The magic of creating something with pictures that says so much more than words? Campos found these inspirations in magazines, comics and public murals. I found them in the illustrated storybooks, art museums, and yes—like Campos—in comic books and magazines, too (ahhh yes, Classics Illustrated and Cricket magazine…).
I am always fascinated to learn about different artists’ journeys, especially when coming from non-Western European traditions. I encourage you to read Cornelio Campos’s remarks below, and learn about his personal journey.
You may learn more about the FedEx Global Education Center at UNC here.
Sueños Americanos/American Dreams: The Art of Cornelio Campos will be on display until October 15, 2011.
At the opening of “Suenos Americanos/American Dreams” at the FedEx Global Education Center at the University of North Carolina, Sept. 8, 2011. Those who served on the committee to curate, install and plan the art exhibit and supplemental programs, from left to right: Gabriela Valdivia, assistant professor, UNC Department of Geography; Altha Cravey, associate professor, UNC Department of Geography; Cornelio Campos, artist; Joseph Palis, teaching assistant professor and advisor, NC State Interdisciplinary Studies; Laura Griest, manager of global events and exhibitions, UNC Global. Behind them, “Antorcha Guadalupana,” oil on canvas, 2007. Photo by Donn Young.
An Excerpt from the Remarks of Cornelio Campos
Delivered at the Opening Reception for Sueños Americanos/American Dreams at the FedEx Global Education Center at the University of North Carolina at Chapel Hill
Cornelio Campos resides in North Carolina. He is from the small mountain town of Cherán in Michoacan, Mexico. He is the third oldest from a family of nine children.
Painting has always been one of my passions, from an early age. I remember as a child looking through the magazines and cartoons of my favorite superheroes. I admired the illustrations in encyclopedias—at the library, and especially in the one my father bought for our family. Later I had the opportunity to attend art classes with the teacher Panfilo Macias. The classes were during the weekends in the municipal pergola, or garden, of the village. These classes were open to the public – for all children – without registration. The only requirements were to have a sketchbook and a pencil.
At age 12, a family friend invited me to the city to take drawing classes … in Guadalajara, Jalisco. This opportunity to leave the village for the first time exposed me to public places with murals by famous painters such as José Clemente Orozco. I visited frequently the paintings and murals of Cabañas Hospice during my stay in Guadalajara.
I remember one in particular entitled “Man of Fire.” This painting is of a man on fire walking or flying in the air. It is painted on the dome at the top of the building. I was very impressed by the way it looks from the bottom and the visual perspective, which gives the impression that this man is actually walking on air. Above all, I was struck by the themes of his paintings: politics, conquest, corruption and social differences.
The main foundation of my life as an artist was my teacher Panfilo Macias, in the traditional style, and in the political, murals such as those of Orozco.
During middle and high school, I did little with my drawings and paintings: small school projects or pictures of classmate profiles. My family was large and my parents did not have the economic means to continue supporting my education.
Without … the possibility to continue my schooling, I decided to migrate to the U.S. in 1989. For a year, family members in Los Angeles, California supported me. A few months later, a cousin invited me to work in the tobacco fields of Henderson, North Carolina …
Working in the fields was very hard for me physically and emotionally. The job required me to keep tobacco plants free of weeds, from planting until harvest time. This process takes several months. When [the plants] are ready to harvest, a day before they are sprayed with a chemical to accelerate the drying of the leaves. [This is complicated for those] who harvest tobacco since this chemical has side-effects: headache, nausea and vomiting. In addition, summer days are hot and the harvesting process requires good physical condition.
After working for several years in the country, I moved to Durham, where I [had] different jobs in landscaping, construction, home insulation, and as an electrician. Currently, to support myself, I install fire alarm systems.
But the most important thing is still inside of me: my dream of being a visual artist. After nearly 10 years of not painting, I decided to continue trying to realize my dream.
My dream has always been to study architecture, but without the possibilities, painting was my choice. I could practice at home after work. With dedication, effort, and with the help of many people, I have achieved my dream. And now I share it with you:
As a child I dreamed of having an exhibition in a public place and to share my drawings, but this never happened. But in recent years, I have had several opportunities here in North Carolina. Today is a dream come true. This is a very special show because it’s one of my biggest and has involved several people who have contributed to my career. And I feel I have reaped the fruit of my dedication and effort to painting. This exposes me to more people who are interested in my art. More than anything, to continue sharing what I like to paint: my culture, my roots and ideas. And also: to educate others with my experience about why migrants come to this country.
My parents in Mexico are very proud of what I have accomplished with my painting in this country, and particularly in this state that has given me the opportunity to achieve my dreams.
I want to thank my wife and son for their patience and the support they have given me.
I also want to thank you tonight:
Laura Griest for coordinating this event.
The FedEx Global Education Center and its administration for giving me the opportunity to present my art.
The UNC Department of Geography teachers — Gabriela Valdivia, Joseph Palis, Altha Cravey — for their great collaboration that made this exhibition possible. The coordination and translation of descriptions and titles of the paintings were by done by them.
The building manager Jim McHale and his assistant Holt Woodruff for helping to hang the paintings on the upper parts of the building.
For the translation tonight, Ana Beatriz Cabello.
And to all those people who I did not mention tonight, but I know that at some point they worked directly and indirectly in my career. Finally, thanks to the public for being here and for deciding to join me tonight.
Thank you very much.
