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Adrian Esparza
Born in 1970 in El Paso, USA  / Lives in El Paso, USA

Jens Hoffmann (JH): The key element in your work for the Istanbul Biennial is an unraveled serape. Can you tell me a little bit more about the history of this object?

Adrian Esparza (AE): The serape is a Mexican blanket—a long, rectangular garment that is the product of Mesoamerican and European weaving traditions. This iconic textile has been produced for hundreds of years in Central America, Mexico, and the Southwest of the United States. The art form has many names and qualities depending on the region in which it is produced. Originally intended as protection against the elements, its diverse utility made it a symbol of the people who incorporated it into their lives. The serapeis characterized by its vibrant bands of color and symmetrical design and is usually made from wool or cotton. The rich and diverse history of the serape extends from the indigenous people of the Americas and Mexican revolutionaries to become merchandise on eBay.

JH: What do you do with the serape?

AE: I unravel it in order to create abstract geometric wall works with the thread. Utilizing this iconic object allows me to simultaneously unveil the history that it represents and turn that history into an evolving symbol of culture.

JH: How do you see the relationship between abstract geometric patterns and the serape?

AE: Serapes are made using the very basic warp and weft weaving technique. The grid established by these vertical and horizontal lines abstracts any image created. All of my wall works are based on existing historical landscape paintings from the Southwest or Mexico. I utilize this logic of the serape grid to transform the landscapes into geometric structures. Deconstruction of the serape and the landscape neutralizes its origin. The structural image created is experienced as an optical vibration. The colorful thread inspires new forms and possibilities but also speaks about reevaluation of my own heritage. Serapes are as much icons of Mexican culture as they are souvenirs. The Saltillo and Rio Grande serape designs, for example, reflect the horizon lines and colors of the Southwestern landscape. The works I create from the serapes are an extension of this observation and inspire new possible structures.

JH: Most of the works you make this way are based on historical landscape paintings from Mexico. How do you choose the paintings, and what will the basis of your piece in Istanbul be?

AE: I have developed a system for the production of the serape series. I incorporate historical landscapes into my creative process, and have started not limiting myself to Mexican landscapes only. The location of the exhibition is reconsidered for each piece. A historical landscape from the region is translated into geometric shapes. The act of migration is replicated as each new work is created, from the traditional to the modern, from Mexico to a more universal visual vocabulary.