Navigating the Ethics and Cultural Layers in My Work

As an artist with Hispanic heritage and a cultural experience that ties closely to the pueblo communities and their land, my work is deeply rooted in the shared histories, landscapes, and cultural intersections of Northern New Mexico. My paintings explore the spaces in between—the places where Pueblo and Hispano identities meet, intertwine, and evolve. While I draw inspiration from the Taos Society of Artists (TSA) and the artistic traditions they established, I also recognize the complexities and responsibilities that come with working in this space.

Many contemporary artists influenced by the TSA come from outside of this cultural heritage, often painting the Southwest through an outsider’s gaze. My experience is different. This is my home. These are my people. My perspective isn’t one of romanticization or nostalgia but of lived experience and deep personal connection. That means I have to navigate my work with a different set of ethical and cultural considerations.

Authenticity vs. Romanticization

The TSA painters created stunning work, but much of it romanticized the region, reducing Pueblo and Hispano life to picturesque moments. As an artist from within this culture, I want to paint truthfully—not just what is visually striking, but what is real. That means questioning whether my work reflects the authentic complexities of this land and its people or if I’m unintentionally reinforcing outdated tropes.

Representation & Cultural Responsibility

I think deeply about how I depict my subjects. Historically, many Southwest painters have portrayed Indigenous and Hispano figures as passive subjects rather than active participants in their own stories. I want my figures to feel alive, to reflect their agency, strength, and presence in a way that isn’t filtered through an outsider’s perspective.

Additionally, I recognize that some aspects of Pueblo culture are not meant to be shared publicly. Certain ceremonies, symbols, and traditions have been appropriated or misrepresented in Western art. Before incorporating specific cultural elements, I ask myself: Is this my story to tell? Am I honoring or taking? When in doubt, I seek guidance from those who hold these traditions.

Painting the In-Between: Hispano & Pueblo Intersections

A large part of my work focuses on the cultural blending and shared spaces between Hispanic and Pueblo communities—histories that are often overlooked or oversimplified in traditional Southwestern art. The dominant narratives tend to separate these cultures into distinct categories, when in reality, generations of intermarriage, shared landscapes, and overlapping traditions have created something more fluid and complex.

I want my paintings to reflect this nuance—to capture the ways in which identities shift, influence one another, and exist in a constant state of exchange. This is a history I know personally, one that is embedded in my own family and community.

Who is My Audience?

The market for Southwestern art is often driven by collectors who are not from here—buyers looking for familiar, iconic depictions of the West. This presents a challenge: Do I create work that caters to those expectations, or do I push against them?

I am constantly considering how my work can challenge and expand the traditional narratives of this region. Some Native and Hispano artists have used coded storytelling, embedding deeper meanings that may not be immediately obvious to outside audiences. I want my work to carry that same layered complexity—offering something visually engaging but also demanding a deeper look.

Honoring the Past, Pushing Forward

The Taos Society of Artists played a significant role in establishing Taos as an art center, but their legacy is also tied to a colonial-era nostalgia that often froze Pueblo and Hispano cultures in time. Rather than simply following in their footsteps, I see my work as an opportunity to move beyond their vision—to tell the stories they missed, to paint the realities they overlooked, and to reshape Southwestern art from the inside.

For me, this means:

• Engaging with my community to ensure my work remains rooted in real stories.
• Respecting cultural boundaries and avoiding appropriation.
• Depicting the complexity of the Hispano-Pueblo relationship, rather than reducing it to a singular identity.
• Challenging traditional Southwest art narratives while still honoring its history.
• Creating space for dialogue about how we, as artists from this land, represent ourselves.

Final Thought

I paint because I love this place—its people, its histories, its contradictions. My goal is not just to continue the legacy of Southwestern art but to reshape it, to claim it as my own, and to bring forth a more honest, layered, and deeply personal vision of Northern New Mexico.