Group interview with Mary Martinez
Source
"Vibrancy of Love" [Painting] P001
Publisher
Date
2019
Contributor
Rights
All rights reserved
Relation
Format
Language
English
Type
Identifier
D001-A.2
Transcription
Julia Alexander (00:00):
Okay. So, yes. Do you want to introduce yourself?
Mary Martinez (00:03):
I'll do whatever you, how ever, [inaudible, crosstalk].
Dima Dorosevici (00:06):
Yes, please.
Mary Martinez (00:07):
Introduce myself? Okay. Hi, I'm Mary Martinez. I am a painting student at the moment.
Dima Dorosevici (00:16):
We, we kind of wanted to ask you how you felt about your teacher, asking you to end up being, just being, I guess, um, accepted as one of the, the artists to represent the project, how you felt about, you know, the initial kind of like, "Hey, we would like you to do this."
Mary Martinez (00:42):
I was really honored and I'm excited about the whole, the perspective of, you know, being a part of this project and, um, Mariam, Mariam Stephan, our painting professor through this project, she like went about the project in a way to which all of the students in painting three were able to have a painting be represented in the final outcome. So it wasn't like we were competing for a space and it wasn't like she, um, you know, she had to make a selection out of all the students in her painting, two and three combined class. Um, so that was really nice that we were all from the beginning. We were just working together kind of in it together, struggling a little bit together. Um, but it was really exciting getting told first thing that we're going to be thrown into this crazy project. Um, because the first day of painting three, um, Mariam was telling us how the semester was going to go basically. [background noise] Yeah, because the first day painting. Mariam was just telling us how the semester was going to go. And she was basically like, you're going to die this semester. I think that was verbatim what she said. She said you're going to die. Um, 'cause she knew that the workload was going to be crazy. Um, so yeah, from right out of the gate, we knew that we were in it for the long haul and we had a lot of work ahead, but it was exciting.
Dima Dorosevici (02:24):
Did you guys go into the class knowing, um, that you guys were going to do this or was it something that was like, "Hey, by the way, this is happening, like halfway through the semester." Like when did that kind of like, when did that, I guess, um, when did you know?
Mary Martinez (02:39):
It was totally unexpected. Nobody knew going into the class, signing up for the class that we were going to be a part of this project, but it was that first day, it was written into the syllabus. So we had some idea of like what it was going to look like kind of, and she explained it very briefly because this is the first time it's ever been done. She didn't entirely know exactly how it was going to go because, you know, timing is, it changes depending on people's schedules and all that. But um, yeah, first day of class, she let us know that this was happening. So nobody knew that this was going to be a project that we were kind of given in addition to, um, our Painting 3 projects. So a lot of work going on just in general. That's really scary.
Julia Alexander (03:33):
Um, yeah. So I guess like going, when you started the project, you obviously interviewed with, um, how you pronounce the name?
Mary Martinez (03:39):
Afiya.
Julia Alexander (03:39):
Okay. So how did your, um, interaction with the Afiya help begin your brainstorming for your work? And like how did this interaction help create like your final piece?
Mary Martinez (03:51):
It was, it was basically like, um, everything for all of the students. It was, it was everything that we created came specifically from the person that we interviewed. So it was like we were creating these artworks based on their lives and you know, their experience being visually impaired to whatever degree they are visually impaired and, you know, however that affected them in their entire span of their life. And we were kind of given the task of representing them. Um, which, which was, it proved to be a challenge, like trying to understand a world that's totally not your own and like not trying to offend them in any way and you know, do it respectfully and like to the best of your ability with, with the information that you have being sighted.
Mary Martinez (04:51):
But yeah, everything that I put into the paintings was directly, um, taken from what she wanted or her life. So it kind of, we went, I, the first interview, I had a couple with her, the first one I asked her, you know, what, if you could create any piece of artwork, what would you create? And then she gave me some ideas and then, um, I played around with those concepts that she gave me. Um, but that was like a little bit tough because she had some kind of imagery of like somebody breaking free of chains. But then the chains ended up being like too, too, like dark or too negative to be on like the side of a building and to go with the idea of, you know, positivity and, uh, visually impaired people are just like everybody else. So then throughout the course of our interviews and talking, um, discourse, it, it totally changed. So like it, it made more towards just being off of her life experience and not so much imagery that she wanted to see represented.
Dima Dorosevici (06:03):
Hmm. So can you tell us a little bit about Afiya's story? Expand on that a little.
Mary Martinez (06:10):
Yeah. So, um, she began losing her sight around, I think it was nine years old and she still has some of her sight. Um, she has, she's losing her sight still progressively. Um, but she has her peripheral vision, um, she kind of explained it to me like on a good day, she can, she, it, she worded it really awesomely. It was like, she can see as much as her, her cane can see on a good day in the daytime, so she can still like navigate sometimes without her cane. But then if it's like dark, she can't see entirely. And she, um, is from Louisiana. Originally, she came here about six or seven months ago, specifically to work at the Industries of the Blind. Um, and her story was basically like a lot of, kind of tragic things happened to her in her life. And that is where I pulled, um, my imagery from, because when she had her first children or her first child, because she was visually impaired, the child was taken away from her when it was born.
Mary Martinez (07:37):
I can't remember if it was her, um, her son or her daughter, but the child was taken away from her. And then she had to fight and carry out this long process just to be able to have her child and, you know, have quote unquote access to her child, which is just insane, you know, that's her baby. Um, but then her second child, they, they knew that she was fully capable of taking care of a child, so they didn't even worry about it. And they let her just take the baby home. And her outlook was, is really awesome. Like she was able to laugh at that and like joke about it. She was like, they knew it was, it was me. And like my second baby, I had done this before. She was able to like, joke about something so serious. And then, um, she was telling me like how her education was totally...
Mary Martinez (08:32):
Um, she, she was able to get an education still, but she had to like work twice or three times as hard as people who were sighted just to get the same quality of education. And like professors would help her. But a lot of times it was, it was just like a challenge with other students and, you know, trying keep up with everybody. Um, so she, she did have access to stuff like that, but it was just like she had to work and this fight that much harder to have access to human rights and stuff.
Dima Dorosevici (09:14):
Yeah. Things that like, we take for granted for sure. Um, so you meet up with Afiya a couple of times, have a couple of interviews with her at this point. Um, what is your creative process like once you absorb the information that she gives you, like, do you do preliminary sketches? Do you, do you know, what, what, what, just talk about your creative experience.
Mary Martinez (09:57):
So that was, that was definitely the hardest part. Just kind of, um, not the credit process process itself, I think, but, um, I guess coming up with the imagery, going from the interviews to the actual artwork, um, but yeah, definitely a lot of preliminary sketches and, and just trying to get ideas on paper, just brainstorm a lot of different ideas. Cause I was trying to like, get it as quote unquote right as I could because I didn't know how, like what is, what was the best imagery to have that didn't seem too, too light and almost silly or, but I didn't want it to be too heavy too, you know, sad looking if it's meant to celebrate and, and show equality. Um, so there were just a lot of sketches, a lot of brainstorming ideas. Um, and then from there it would, it would get narrowed down, um, to ideas that I liked the best and I would try different mediums. Like I, I did a couple oil paintings and, um, watercolor paintings of each image that I, that I narrowed those sketches into. Um, and then, yeah, pretty much once I had the three final images that I wanted, I just refine those for like the last month or like a couple, two, three weeks. I just like refined the three final images that we wanted to show the board of, um, all the employees and the, um, the heads of the Industries of the Blind.
Julia Alexander (11:58):
So I guess like going back, like in your life, um, what got you like into art, like what made you want to become an artist?
Mary Martinez (12:12):
I, it's hard to say, cause I just have been making art and like drawing and doodling since I can remember, but I'd say probably reading a lot when I was a kid and having illustrated books, like, um, I think especially people like Shel Silverstein and, um, what's his name? Jackson who did Harold and the Purple Crayon? Crocker [crosstalk] I think his name is or Crocker Jackson, something like that. Um, but yeah, I definitely say artists and illustrators like that. Um, seeing the kinds of worlds that they created and stories they were able to tell through, through imagery.
Julia Alexander (13:09):
Crockett Johnson.
Mary Martinez (13:10):
Yes. Crockett Johnson and, um, Shel Silverstein, I would say are probably like two biggest inspirations of my childhood. Um, yeah, they just wanted me to, or they made me want to tell stories through art.
Dima Dorosevici (13:28):
So you kind of, you kind of said they, they created their own worlds. Um, so I guess my question or my new something that I'm interested in hearing about is, uh, for this project specifically, is that, is that something that you focused on, like throughout the project? Was it with, did you want to paint that world that, um, Afiya was living in? Did you want to like get inside of her head and kinda just, because, we're living in a completely different reality than she is, right? Like or just blind people in general, like taking away one of the senses is like a huge thing, her whole perception on everything is completely shifted. So was that something that you kind of wanted to bring to the light?
Mary Martinez (14:18):
I think definitely that was a big, um, part of it wanting to create her world. Um, but then I also had to remember that this, this is for, um, it's going to be viewed mainly I think by sighted people like passing it quickly on, um, what is that street?
Dima Dorosevici (14:42):
West Gate City.
Mary Martinez (14:42):
Yes. Thank you. Um, and you know, they're going to be going by kind of quickly or they're going to be walking by. So I had to keep in mind that I do want it to be a world that is easily understood by somebody who's not fully aware of the context of the image, um, and Afiya's story, but I definitely did want to create like the characters, if you can, if you can call her that. And, um, like her children, because the image that was chosen for the final artwork is Afiya and her two kids walking down a New Orleans Street. Um, and I didn't want to create that world, I think mostly through like the emotion shown between mother and her children and like that, that bond that they have, and also like the city that they are in and that vibrancy. Um, but yeah, that's, that's kind of interesting. I never really thought about it as like throughout the process. I didn't think about it as like creating a world that is like untapped by the sighted. I mean, you know what I mean? I don't know.
Dima Dorosevici (16:07):
Totally. That's, that's kinda why I was interested in, um, so I know you kind of touched on the piece that was selected already. Um, and that's definitely something that we're going to cover for sure, in the interview, but I kind of want to focus on, on this, on this series of questions here. Um, just because, you know, I, I feel like it's interesting. We feel like it's interesting to, to really get in the mind of the artist as well as what or who they're drawing. Um, do you feel like this kind of experience of doing interviews and going out and, and getting another person involved, right? Like it was, did you, um, learn new techniques? Did you implement new kind of ways that you're making your art? Or how did that go? Or if any...
Mary Martinez (17:01):
Totally. I, I've never created an artwork that was totally based on like somebody else's experience and, you know, not entirely from my own creation, this, this is like a public piece, which is really awesome, something that's a little aside, but, um, yeah, this was a really great experience and understanding that kind of world of having to, you know, communicate with people outside your, your normal world and people that you would regularly talk to and interact with. Um, so kind of expanding that and, and having, like being required to go conduct these interviews with people that I, I would never go talk to employees at any sort of like business or factory. Um, so yeah, just kind of being pushed to do that, being forced to do that, I say forced, but I mean, we were, we were willing and wanting to do this. Um, it really kind of made me more aware of like the world beyond myself and like the art world and kind of new concepts that I would never have thought to create just from using my own background and like my own history and knowledge, um,
Julia Alexander (18:51):
Continue, sorry!
Mary Martinez (18:55):
Yeah. I think just like having like a nice kind of series and like set of steps that we had to follow. Um, and then, and then knowing that we were going to be kind of presenting our creations to the employees at the end of the semester. Um, and we had to sort of be professional about it. It totally changed the way we made our work and the way we, you know, conducted ourselves. Hmm.
Julia Alexander (19:34):
So then, um, what has led you, or like what led you to come to UNCG? Like, what was your like, journey at UNCG? And like, your, like, four years here.
Dima Dorosevici (19:44):
Going on five, right?
Mary Martinez (19:49):
Yeah. Four and a half. Um, wait my journey to degree?
Julia Alexander (19:52):
Like what, like, I guess, like, why did you choose UNCG? Like what made you want to come here? Um, and then like, as you've been here, what has made you want to stay here and what's made you like, want to be, I guess, like super... 'Cause I know you're very involved, like within the art program. Um, so like what has made you want to become like so involved in?
Mary Martinez (20:16):
Yeah. Um, well, I first decided to come here because my brother went to school here for his undergrad and his master's degree. Um, and then just from, like, visiting and him talking to school up, I found out that they had a really good, um, art department and theater department. And they're like, well known, um, not only in like North Carolina, but you know, in some places around the country, um, we have the Weatherspoon which is like a nationally, highly regarded art museum.
Mary Martinez (20:51):
Definitely that was like a huge reason I wanted to come here was for the, how, how, how awesome the departments are. Uh, and then once I was here, it was just, you know, immediately falling in love with the professors, the, the building, all of the resources we have here, you know, we have a wood shop, we have a foundry and ceramic room and, um, really just like the sense of community within the art department. And, you know, the professors do all they can to, to continue to like build that community and keep it going. And we have, you know, the GPS downtown where, where students are able to have shows. And, um, I mean, we just, it's crazy how much awesome stuff we have access to just by being students here. Um, definitely I try to stay involved as much as possible just because I love the people here and I love how, I don't know how tight knit community it is.
Mary Martinez (22:06):
And I mean, I honestly get sad, like at the end of the semester is like, like this, you know, the print room's empty now and, and the building's empty, but I just, I love the energy, the vibe that the building has and all the art students. They're just, they're great.
Julia Alexander (22:24):
So you said you were teaching now, um, what are you teaching exactly?
Mary Martinez (22:29):
So over the summer, I was teaching at the, um, the Center for Visual Artists downtown. I was teaching some, some summer camp courses and I taught, um, it was fourth through sixth graders and I taught them a sketchbook class kind of how to build their own sketchbook and fill it full of all these different life drawings and drawing from nature and we'd go out and, um, we would, we would, I would give them tasks. They would have to draw a certain, a certain amount of people, a certain amount of buildings. And we would, we would take turns and have live models. The students would pose for each other. Um, and of course I had to like sneak some printmaking in there. I taught, uh, um, it was actually, uh, what was the name of the class? It was, it was, I think it was figure drawing or something like that. It was like drawing people. Um, I got them to draw portraits of their family, but in printmaking and linoleum cuts, and then I'm supposed to be teaching a, a printmaking class, but for adults, this coming spring semester, hopefully that works out. I was supposed to teach it last fall, but we didn't have anybody who signed up for it because we don't have a lot of, um, we, we need a little bit of help with like, uh, branding and not branding, but, um, marketing and like getting the word out about it, but hopefully more people will sign up for it in the spring. Um, I think that's all I taught.
Dima Dorosevici (24:13):
Um, so, okay. So I mean, kind of having done a deep dive, if you will, on just everything art and you, um, we wanted to kind of, to focus on the specific process of, uh, getting your work because, correct me if I'm wrong, you made three total pieces and then one out of the three were selected. Um, so can you, can you kind of walk us through, um, all of the pieces that you kind of, uh, created and why you think the one that was selected was selected? Like why specifically that one as opposed to the other two?
Mary Martinez (25:13):
Yeah, so, um, for the three that I ultimately ended up putting the most time and energy into, um, after all the sketches and the deciding which imagery, I like the best, um, I decided going with two paintings that were the same image, but done in two different techniques. Um, one was watercolor and then one was an oil painting and those two were an image of, uh, this is the one I was talking about earlier, where it's Afiya walking with her two children down, uh, New Orleans city street. And there there's a jazz band in the background and, you know, like fernss and, and, um, cast iron railings and bright, colorful buildings. Um, and I really just wanted to kind of give them an option of, of like the richness of oil paint and, you know, the delicate kind of touches of watercolor washiness, um, and also like the, the biggest difference between the two and which is the main reason they chose the watercolor was because the outline of the figures was actually done using the printmaking, printmaking technique, um, screen printing, um, which is, it was originally, I was going to do this as a lithography print, just that one's with the figure, um, and then do the rest of it as a painting.
Mary Martinez (26:49):
And I wanted to do that specifically because of the, the, um, kind of the stuff I was talking about earlier, like how the visually impaired don't have access or some of the basic human rights that everybody should have like the right to education, the right to their own children. And then something else that Afiya was telling me about was how a lot of people are denied jobs, just because they're visually impaired, not even like fully blind, um, just because they don't have full sight, they, that they'll, people will straight up be like, you can't have this job, but then make up some excuse. Like we're just not hiring right now, but it will be because they are visually impaired. And that's a lot of, um, a lot of the people that are at the Industries of the Blind, that's like their only option to work there because nobody else will hire them.
Mary Martinez (27:46):
And so like the right to education children, um, a job and, you know, money and your independence. Um, the idea of like the visually impaired don't have basic human rights and, and like, they have to work just as hard for those foundational things. I wanted to kind of create that sort of idea in the foundation of the image, like the figures being the foundational element. I wanted to do that with a printmaking technique that is more labor intensive and time intensive because that, you know, printing that one outline of the figures that took me like a couple of hours when I could have just drawn it in with a pen.
Dima Dorosevici (28:35):
Right.
Mary Martinez (28:36):
But, um, even though it's not obvious when you're looking at it, I just wanted that like symbolism to be there and that kind of, um, allusion to like, you have to work so much harder for that foundational right.
Mary Martinez (28:52):
Um, yeah. And that I let them, when we kind of presented our three pieces, I talked about that, how I, how I did that process. And then ultimately they like that over the, the difference visually, they liked the concept and that meaning in the watercolor piece more than the other one, which was just the image. Um, and that's why they ended up choosing that one. And then my, my third image was Afiya and her two children in a grocery store. And, um, that was just to kind of showcase how the visually impaired are just like everybody else, they do everyday things. They go to the grocery store, they're able to live their life and do daily tasks like anybody else. And that was another way to show that, that bond and that closeness between Afiya and her two children, because she was telling me all these stories and anecdotes about like how her, her daughter put her hand inside her pocket, um, and then kind of lead her around and help to guide her. Um, which I thought I thought was just really cute. And so in both of the images, her, her daughter's hand is inside of her pocket and then holding onto the side of the buggy or the shopping cart and kind of pointing out items in the, in the grocery store to show that how they kind of work together. And they're just able to do things differently, but they're still able to do things with that same amount of love for each other. And they're their mom, they're her children.
Julia Alexander (30:51):
I'm sorry. Yes. Um, Okay. Yes. So, but so more specifically, why did you create this piece? I think you already explained it, but
Dima Dorosevici (31:07):
No, not why, but, uh, um, specifically, so you, they, they selected the, you said the watercolor one. Um, so with the printmaking element, and I know you already touched on it a little bit, um, but we kind of want to have your voice there while people are looking at the piece. So can you, can you like break down some details about the piece that you kind of want people to to see, um, and then kinda notice right when they look at it?
Mary Martinez (31:47):
Um, kind of like just a description, like subjectively of like what it is?
Dima Dorosevici (31:51):
Yes, yes absolutely, and just the important things that you put in there that you think are important to kind of take into consideration. Okay.
Mary Martinez (31:58):
Um, definitely I think the, the main focus of the image is Afiya walking with, with her daughter and her daughter's hand is inside of Afiya's pocket. Um, and her son is to her other side and they're holding hands, they're walking down a street, a busy street in New Orleans. And there's a lot of, I tried to create a lot of vibrant colors and sounds, I wanted, I wanted to give the painting a feeling or like a visual sort of representation. Yeah. A representation of, of just like a lot of energy. And like, you can hear the streets and the jazz bands in the background and you can kind of feel the breeze almost. And, um, and so yeah, behind them is a jazz band of three band members. And then they're walking down a street and there's there's ferns and, um, railings along the bright colored buildings.
Mary Martinez (33:17):
Um, and I think the main concept and, and sort of drive behind the imagery is really that focus on that like mother and child bond and how they're all close. Um, not only like physically, they're all very close, but there's that like close emotional bond between them. Um, and Afiya in the image has on sunglasses and a cane, a walking cane to, um, be representative of, you know, her visual impairment. And that was something I talked with a fee about. I asked her just cause I want it to be, um, very clear about that. And I wanted her own opinion on, you know, what's a good way to represent somebody who is visually impaired. And, um, yeah, she said she wanted me to, it was okay because a lot of people do have sunglasses on because even though they might not be able to use their eyes, they can still damage their eyes in the sun.
Mary Martinez (34:29):
So that's fine to have sunglasses on and to have a cane because a lot of people do use a cane. Um, but she did want me to make it known that once she's in Louisiana, she puts the cane away and she's able to like navigate a hundred percent without a cane or without any help. She can, she knows exactly where she is. Um, but just for the audience of sighted people, I wanted them to be aware that this is somebody who has a visual impairment, but there is still, you know, that love and ability to navigate and be her own person with her, with her children.
Julia Alexander (35:13):
Um, so how do you think you or your work will impact the community? Like when they see it?
Mary Martinez (35:25):
I hope that it kind of just allows people to maybe not be intimidated or like afraid to get in touch with the community of, of the visually impaired people. Because I know at least for me, I had no idea like what went on in that building. I didn't know that there was a whole community of people in there that are like so sweet and kind and welcoming every single time we were there. They were just the sweetest people and they were always so excited and happy to see us, just joking and having a great time. And I just, I hope it kind of breaks down some sort of barrier, like divide between the communities because there is just, I, there's just not enough of, like, communication, I don't think, between the two. And it's, I think it's just from a lack of, of knowing, or like just a lack of, you know, people not knowing what is going on inside the building, because it's kind of mysterious, you know, it was just a big solid brick building. And that was kind of the whole purpose of this project was just to, you know, bring people in. And so the building, wasn't just like a big, scary brick building. They wanted some artwork on the walls because there aren't any windows on the building. Um, yeah, I, I'm not sure what I'm expecting to happen, but I know that I'm hoping that it, it kind of changes how people view the building and their interaction with the building for sure. And the people in the building of course.
Dima Dorosevici (37:24):
Right. Yeah. Um, so I guess, uh, kind of branching off of that. Um, so you've already said, it's, it's great, right? That this is happening. It's great that they're putting up you guys's work. Um, and then UNCG is even, you know, going in there and creating that collaboration between art students and Industries of the Blind. Um, and we see a little bit more in the city, I'd say, um, of, of, of the art community kind of embracing local minorities, um, and things of that nature. Um, I guess from that, I'm kind of curious, uh, having this project in mind. Um, what other things do you kind of want ideally, um, to, to see going on in the community? Do you want more of just specific minorities being focused on or, or, or, or like, how, how do you want the, how do you want us as artists? How do you want the art community to, um, to kind of respond to, uh, local, maybe barriers that are, that are put in by society? How do you think you would resolve, um, this scenario?
Mary Martinez (39:02):
Um, that's tough, but, um, I think, I think we really just need to kind of start working together more and even, um, like small scales, you know, just trying to do some sort of collaboration with maybe not even a group of people, but like just one other person that you would totally never do a collaboration with, just to see, you know, to learn something new, because I would never have done this on my own. Not, not out of like fear or anything, but just from like lack of, I dunno, resources, I guess, or like not having any sort of connection to that community. I don't know. I guess I don't, I don't know if, if, if it's maybe a problem. I mean, there is definitely a problem with like, not having enough representation of like minorities, but, um, but like, I think if different groups are able to like work together more just to, you know, have personal growth and learn more about other communities that is like one way to kind of like start out smaller to a degree and like grow from there.
Mary Martinez (40:31):
So we're, we just kind of have more knowledge and we're able to kind of grow progressively more, you know, like have, have an art show with, with totally different type of art. You know, like I, I do a lot of self portrait like, and have like, try to have a show with like, I don't know, like a graffiti artist or something, because I don't know anything about that world. I, you know, maybe try to do something like that, but I don't know, maybe we just be more in communication, we're collaboration with people we don't normally talk to. Cause this has been a really eye opening experience.
Dima Dorosevici (41:13):
I kind of want to use the last couple of minutes to kind of wrap it up and to maybe from this experience with you, um, I'll let Julia, I mean, if Julia has any, any specific questions that she kind of wants to ask you about the experience or about just your art in general, um, let that go down. I know I have some questions. Um, Julia, do you have any specifics? No. Um, so,
Julia Alexander (41:40):
I'm sorry.
Dima Dorosevici (41:41):
I kind of want, I kind of want to know. I think it's interesting. So, Well, first and foremost, I want you to talk about, I want you, I want you to plug your art. I want you to plug, um, what you're working on. Um, whether it be alongside of this project or now, currently right now in this moment, um, or just, uh, stuff about your work, you know, whatever creative process or, you know, interesting stuff that there that's, you know, that are happening in your life.
Mary Martinez (42:21):
Um, wow. I don't think I have any like major art projects or anything going on right now. Um, just cause you know, classes kind of my main focus. Um, I am trying to do more like large scale self-portraits um,
Julia Alexander (42:44):
I've seen the one out there. I like it.
Mary Martinez (42:49):
And um, yeah, I'm going to be working on some pieces for a upcoming project or a show at the Center for Visual Artists. Um, which will be, I don't know what the date is. Should I wish I did that?
Julia Alexander (43:08):
Honestly, that was going to be my question. Like you have two goals. [inaudible crosstalk]
Dima Dorosevici (43:12):
No, it's important. Plug your work, you know, cause you have a pretty important role in all of this. Yeah.
Mary Martinez (43:30):
Uh, okay. So the, the show that I am going to be in is, I should say hopefully, hopefully going to be in, is "Self Recognitions through the Other," which is going to be at the Center for Visual Artists February 7th through March 28th, 2020, um, so a piece or possibly two in that.
Julia Alexander (43:54):
Nice. That's pretty big.
Dima Dorosevici (43:58):
Do you like, do you want to, do you have things that are just thrown around in your mind that you kind of want to talk about that you're thinking of doing in the future or are you just being present as much as possible and you kind of want to just focus on that
Mary Martinez (44:16):
Kind of, my mind's like on planning out my series of paintings for capstone painting next semester. So that's kind of like where my mind has been in terms of my art from like moving forward from here, trying to kind of focus in and hone in on like a certain concept or series. And then also kind of taking that idea and trying to figure out something that I can keep working on and adding to for like the next year or two that I can put towards my grad school applications. Um, but it's definitely going to be driven by self-portraiture and, and, you know, kind of tackling the motions that I can connect with other... That hopefully other people are like able to connect to within my pieces still trying to work.
Dima Dorosevici (45:15):
Yeah, no, totally. I mean, I have another question for you right before we kind of wrap it up. I'm kind of interested in, do you think that an institutional, um, school, uh, environment is necessary? Is it a good thing? Is it a bad thing? What would you say about, you know, not just UNCG but kind of taking your experience in UNCG and kind of looking around and looking at the world. Do you think that that's an important thing to have, or do you, how do you feel about that?
Mary Martinez (45:50):
I think it's totally dependent on the individual. I wouldn't say it's necessary, but for me it's definitely necessary. I mean, I can't even imagine what the heck I'd be doing or like where I would be in my terms of my art career, if it wasn't for UNCG. And I just know that I think it's like so important for myself to have that structural foundation and knowledge for the past four years and going on five years of like, and that's why I decided to like come back. 'Cause I felt like I wasn't fully ready to, you know, start my own solo career as an artist. Um, because I didn't have all the information I needed. I still had so much left to learn and like foundational levels. So I think it, you know, um, educational systems are, they're so important, but you know, they're not necessary for everybody, but for the people that they are necessary for, they're like really necessary for them. You know what I mean? 'Cause you know, you can make it on your own if you don't go to school, if you just have like, you know, the drive and the wherewithal to do it. But you know, I just wanted to have that solid framework of this is basic stuff like just foundational learning. Um, so yeah, for me personally, I am a huge fan of school.
Dima Dorosevici (47:34):
Well, I mean with that, I, you know, me (Dimitri) and Julia,
Julia Alexander (47:42):
Same here.
Dima Dorosevici (47:44):
Mary Martinez. Um, but with that we wrap up our interview and we really appreciate you taking your time out of your schedule to come and talk with us and tell us a little bit more about you, your art, your creative process and just everything in between and specifically, um, the, this project that the UNCG School of Art, um, collabed with, um, the Industries of the Blind, um, and also Afiya, you know? Um, so thank you to everyone for making this happen and uh, catch you next time.
Okay. So, yes. Do you want to introduce yourself?
Mary Martinez (00:03):
I'll do whatever you, how ever, [inaudible, crosstalk].
Dima Dorosevici (00:06):
Yes, please.
Mary Martinez (00:07):
Introduce myself? Okay. Hi, I'm Mary Martinez. I am a painting student at the moment.
Dima Dorosevici (00:16):
We, we kind of wanted to ask you how you felt about your teacher, asking you to end up being, just being, I guess, um, accepted as one of the, the artists to represent the project, how you felt about, you know, the initial kind of like, "Hey, we would like you to do this."
Mary Martinez (00:42):
I was really honored and I'm excited about the whole, the perspective of, you know, being a part of this project and, um, Mariam, Mariam Stephan, our painting professor through this project, she like went about the project in a way to which all of the students in painting three were able to have a painting be represented in the final outcome. So it wasn't like we were competing for a space and it wasn't like she, um, you know, she had to make a selection out of all the students in her painting, two and three combined class. Um, so that was really nice that we were all from the beginning. We were just working together kind of in it together, struggling a little bit together. Um, but it was really exciting getting told first thing that we're going to be thrown into this crazy project. Um, because the first day of painting three, um, Mariam was telling us how the semester was going to go basically. [background noise] Yeah, because the first day painting. Mariam was just telling us how the semester was going to go. And she was basically like, you're going to die this semester. I think that was verbatim what she said. She said you're going to die. Um, 'cause she knew that the workload was going to be crazy. Um, so yeah, from right out of the gate, we knew that we were in it for the long haul and we had a lot of work ahead, but it was exciting.
Dima Dorosevici (02:24):
Did you guys go into the class knowing, um, that you guys were going to do this or was it something that was like, "Hey, by the way, this is happening, like halfway through the semester." Like when did that kind of like, when did that, I guess, um, when did you know?
Mary Martinez (02:39):
It was totally unexpected. Nobody knew going into the class, signing up for the class that we were going to be a part of this project, but it was that first day, it was written into the syllabus. So we had some idea of like what it was going to look like kind of, and she explained it very briefly because this is the first time it's ever been done. She didn't entirely know exactly how it was going to go because, you know, timing is, it changes depending on people's schedules and all that. But um, yeah, first day of class, she let us know that this was happening. So nobody knew that this was going to be a project that we were kind of given in addition to, um, our Painting 3 projects. So a lot of work going on just in general. That's really scary.
Julia Alexander (03:33):
Um, yeah. So I guess like going, when you started the project, you obviously interviewed with, um, how you pronounce the name?
Mary Martinez (03:39):
Afiya.
Julia Alexander (03:39):
Okay. So how did your, um, interaction with the Afiya help begin your brainstorming for your work? And like how did this interaction help create like your final piece?
Mary Martinez (03:51):
It was, it was basically like, um, everything for all of the students. It was, it was everything that we created came specifically from the person that we interviewed. So it was like we were creating these artworks based on their lives and you know, their experience being visually impaired to whatever degree they are visually impaired and, you know, however that affected them in their entire span of their life. And we were kind of given the task of representing them. Um, which, which was, it proved to be a challenge, like trying to understand a world that's totally not your own and like not trying to offend them in any way and you know, do it respectfully and like to the best of your ability with, with the information that you have being sighted.
Mary Martinez (04:51):
But yeah, everything that I put into the paintings was directly, um, taken from what she wanted or her life. So it kind of, we went, I, the first interview, I had a couple with her, the first one I asked her, you know, what, if you could create any piece of artwork, what would you create? And then she gave me some ideas and then, um, I played around with those concepts that she gave me. Um, but that was like a little bit tough because she had some kind of imagery of like somebody breaking free of chains. But then the chains ended up being like too, too, like dark or too negative to be on like the side of a building and to go with the idea of, you know, positivity and, uh, visually impaired people are just like everybody else. So then throughout the course of our interviews and talking, um, discourse, it, it totally changed. So like it, it made more towards just being off of her life experience and not so much imagery that she wanted to see represented.
Dima Dorosevici (06:03):
Hmm. So can you tell us a little bit about Afiya's story? Expand on that a little.
Mary Martinez (06:10):
Yeah. So, um, she began losing her sight around, I think it was nine years old and she still has some of her sight. Um, she has, she's losing her sight still progressively. Um, but she has her peripheral vision, um, she kind of explained it to me like on a good day, she can, she, it, she worded it really awesomely. It was like, she can see as much as her, her cane can see on a good day in the daytime, so she can still like navigate sometimes without her cane. But then if it's like dark, she can't see entirely. And she, um, is from Louisiana. Originally, she came here about six or seven months ago, specifically to work at the Industries of the Blind. Um, and her story was basically like a lot of, kind of tragic things happened to her in her life. And that is where I pulled, um, my imagery from, because when she had her first children or her first child, because she was visually impaired, the child was taken away from her when it was born.
Mary Martinez (07:37):
I can't remember if it was her, um, her son or her daughter, but the child was taken away from her. And then she had to fight and carry out this long process just to be able to have her child and, you know, have quote unquote access to her child, which is just insane, you know, that's her baby. Um, but then her second child, they, they knew that she was fully capable of taking care of a child, so they didn't even worry about it. And they let her just take the baby home. And her outlook was, is really awesome. Like she was able to laugh at that and like joke about it. She was like, they knew it was, it was me. And like my second baby, I had done this before. She was able to like, joke about something so serious. And then, um, she was telling me like how her education was totally...
Mary Martinez (08:32):
Um, she, she was able to get an education still, but she had to like work twice or three times as hard as people who were sighted just to get the same quality of education. And like professors would help her. But a lot of times it was, it was just like a challenge with other students and, you know, trying keep up with everybody. Um, so she, she did have access to stuff like that, but it was just like she had to work and this fight that much harder to have access to human rights and stuff.
Dima Dorosevici (09:14):
Yeah. Things that like, we take for granted for sure. Um, so you meet up with Afiya a couple of times, have a couple of interviews with her at this point. Um, what is your creative process like once you absorb the information that she gives you, like, do you do preliminary sketches? Do you, do you know, what, what, what, just talk about your creative experience.
Mary Martinez (09:57):
So that was, that was definitely the hardest part. Just kind of, um, not the credit process process itself, I think, but, um, I guess coming up with the imagery, going from the interviews to the actual artwork, um, but yeah, definitely a lot of preliminary sketches and, and just trying to get ideas on paper, just brainstorm a lot of different ideas. Cause I was trying to like, get it as quote unquote right as I could because I didn't know how, like what is, what was the best imagery to have that didn't seem too, too light and almost silly or, but I didn't want it to be too heavy too, you know, sad looking if it's meant to celebrate and, and show equality. Um, so there were just a lot of sketches, a lot of brainstorming ideas. Um, and then from there it would, it would get narrowed down, um, to ideas that I liked the best and I would try different mediums. Like I, I did a couple oil paintings and, um, watercolor paintings of each image that I, that I narrowed those sketches into. Um, and then, yeah, pretty much once I had the three final images that I wanted, I just refine those for like the last month or like a couple, two, three weeks. I just like refined the three final images that we wanted to show the board of, um, all the employees and the, um, the heads of the Industries of the Blind.
Julia Alexander (11:58):
So I guess like going back, like in your life, um, what got you like into art, like what made you want to become an artist?
Mary Martinez (12:12):
I, it's hard to say, cause I just have been making art and like drawing and doodling since I can remember, but I'd say probably reading a lot when I was a kid and having illustrated books, like, um, I think especially people like Shel Silverstein and, um, what's his name? Jackson who did Harold and the Purple Crayon? Crocker [crosstalk] I think his name is or Crocker Jackson, something like that. Um, but yeah, I definitely say artists and illustrators like that. Um, seeing the kinds of worlds that they created and stories they were able to tell through, through imagery.
Julia Alexander (13:09):
Crockett Johnson.
Mary Martinez (13:10):
Yes. Crockett Johnson and, um, Shel Silverstein, I would say are probably like two biggest inspirations of my childhood. Um, yeah, they just wanted me to, or they made me want to tell stories through art.
Dima Dorosevici (13:28):
So you kind of, you kind of said they, they created their own worlds. Um, so I guess my question or my new something that I'm interested in hearing about is, uh, for this project specifically, is that, is that something that you focused on, like throughout the project? Was it with, did you want to paint that world that, um, Afiya was living in? Did you want to like get inside of her head and kinda just, because, we're living in a completely different reality than she is, right? Like or just blind people in general, like taking away one of the senses is like a huge thing, her whole perception on everything is completely shifted. So was that something that you kind of wanted to bring to the light?
Mary Martinez (14:18):
I think definitely that was a big, um, part of it wanting to create her world. Um, but then I also had to remember that this, this is for, um, it's going to be viewed mainly I think by sighted people like passing it quickly on, um, what is that street?
Dima Dorosevici (14:42):
West Gate City.
Mary Martinez (14:42):
Yes. Thank you. Um, and you know, they're going to be going by kind of quickly or they're going to be walking by. So I had to keep in mind that I do want it to be a world that is easily understood by somebody who's not fully aware of the context of the image, um, and Afiya's story, but I definitely did want to create like the characters, if you can, if you can call her that. And, um, like her children, because the image that was chosen for the final artwork is Afiya and her two kids walking down a New Orleans Street. Um, and I didn't want to create that world, I think mostly through like the emotion shown between mother and her children and like that, that bond that they have, and also like the city that they are in and that vibrancy. Um, but yeah, that's, that's kind of interesting. I never really thought about it as like throughout the process. I didn't think about it as like creating a world that is like untapped by the sighted. I mean, you know what I mean? I don't know.
Dima Dorosevici (16:07):
Totally. That's, that's kinda why I was interested in, um, so I know you kind of touched on the piece that was selected already. Um, and that's definitely something that we're going to cover for sure, in the interview, but I kind of want to focus on, on this, on this series of questions here. Um, just because, you know, I, I feel like it's interesting. We feel like it's interesting to, to really get in the mind of the artist as well as what or who they're drawing. Um, do you feel like this kind of experience of doing interviews and going out and, and getting another person involved, right? Like it was, did you, um, learn new techniques? Did you implement new kind of ways that you're making your art? Or how did that go? Or if any...
Mary Martinez (17:01):
Totally. I, I've never created an artwork that was totally based on like somebody else's experience and, you know, not entirely from my own creation, this, this is like a public piece, which is really awesome, something that's a little aside, but, um, yeah, this was a really great experience and understanding that kind of world of having to, you know, communicate with people outside your, your normal world and people that you would regularly talk to and interact with. Um, so kind of expanding that and, and having, like being required to go conduct these interviews with people that I, I would never go talk to employees at any sort of like business or factory. Um, so yeah, just kind of being pushed to do that, being forced to do that, I say forced, but I mean, we were, we were willing and wanting to do this. Um, it really kind of made me more aware of like the world beyond myself and like the art world and kind of new concepts that I would never have thought to create just from using my own background and like my own history and knowledge, um,
Julia Alexander (18:51):
Continue, sorry!
Mary Martinez (18:55):
Yeah. I think just like having like a nice kind of series and like set of steps that we had to follow. Um, and then, and then knowing that we were going to be kind of presenting our creations to the employees at the end of the semester. Um, and we had to sort of be professional about it. It totally changed the way we made our work and the way we, you know, conducted ourselves. Hmm.
Julia Alexander (19:34):
So then, um, what has led you, or like what led you to come to UNCG? Like, what was your like, journey at UNCG? And like, your, like, four years here.
Dima Dorosevici (19:44):
Going on five, right?
Mary Martinez (19:49):
Yeah. Four and a half. Um, wait my journey to degree?
Julia Alexander (19:52):
Like what, like, I guess, like, why did you choose UNCG? Like what made you want to come here? Um, and then like, as you've been here, what has made you want to stay here and what's made you like, want to be, I guess, like super... 'Cause I know you're very involved, like within the art program. Um, so like what has made you want to become like so involved in?
Mary Martinez (20:16):
Yeah. Um, well, I first decided to come here because my brother went to school here for his undergrad and his master's degree. Um, and then just from, like, visiting and him talking to school up, I found out that they had a really good, um, art department and theater department. And they're like, well known, um, not only in like North Carolina, but you know, in some places around the country, um, we have the Weatherspoon which is like a nationally, highly regarded art museum.
Mary Martinez (20:51):
Definitely that was like a huge reason I wanted to come here was for the, how, how, how awesome the departments are. Uh, and then once I was here, it was just, you know, immediately falling in love with the professors, the, the building, all of the resources we have here, you know, we have a wood shop, we have a foundry and ceramic room and, um, really just like the sense of community within the art department. And, you know, the professors do all they can to, to continue to like build that community and keep it going. And we have, you know, the GPS downtown where, where students are able to have shows. And, um, I mean, we just, it's crazy how much awesome stuff we have access to just by being students here. Um, definitely I try to stay involved as much as possible just because I love the people here and I love how, I don't know how tight knit community it is.
Mary Martinez (22:06):
And I mean, I honestly get sad, like at the end of the semester is like, like this, you know, the print room's empty now and, and the building's empty, but I just, I love the energy, the vibe that the building has and all the art students. They're just, they're great.
Julia Alexander (22:24):
So you said you were teaching now, um, what are you teaching exactly?
Mary Martinez (22:29):
So over the summer, I was teaching at the, um, the Center for Visual Artists downtown. I was teaching some, some summer camp courses and I taught, um, it was fourth through sixth graders and I taught them a sketchbook class kind of how to build their own sketchbook and fill it full of all these different life drawings and drawing from nature and we'd go out and, um, we would, we would, I would give them tasks. They would have to draw a certain, a certain amount of people, a certain amount of buildings. And we would, we would take turns and have live models. The students would pose for each other. Um, and of course I had to like sneak some printmaking in there. I taught, uh, um, it was actually, uh, what was the name of the class? It was, it was, I think it was figure drawing or something like that. It was like drawing people. Um, I got them to draw portraits of their family, but in printmaking and linoleum cuts, and then I'm supposed to be teaching a, a printmaking class, but for adults, this coming spring semester, hopefully that works out. I was supposed to teach it last fall, but we didn't have anybody who signed up for it because we don't have a lot of, um, we, we need a little bit of help with like, uh, branding and not branding, but, um, marketing and like getting the word out about it, but hopefully more people will sign up for it in the spring. Um, I think that's all I taught.
Dima Dorosevici (24:13):
Um, so, okay. So I mean, kind of having done a deep dive, if you will, on just everything art and you, um, we wanted to kind of, to focus on the specific process of, uh, getting your work because, correct me if I'm wrong, you made three total pieces and then one out of the three were selected. Um, so can you, can you kind of walk us through, um, all of the pieces that you kind of, uh, created and why you think the one that was selected was selected? Like why specifically that one as opposed to the other two?
Mary Martinez (25:13):
Yeah, so, um, for the three that I ultimately ended up putting the most time and energy into, um, after all the sketches and the deciding which imagery, I like the best, um, I decided going with two paintings that were the same image, but done in two different techniques. Um, one was watercolor and then one was an oil painting and those two were an image of, uh, this is the one I was talking about earlier, where it's Afiya walking with her two children down, uh, New Orleans city street. And there there's a jazz band in the background and, you know, like fernss and, and, um, cast iron railings and bright, colorful buildings. Um, and I really just wanted to kind of give them an option of, of like the richness of oil paint and, you know, the delicate kind of touches of watercolor washiness, um, and also like the, the biggest difference between the two and which is the main reason they chose the watercolor was because the outline of the figures was actually done using the printmaking, printmaking technique, um, screen printing, um, which is, it was originally, I was going to do this as a lithography print, just that one's with the figure, um, and then do the rest of it as a painting.
Mary Martinez (26:49):
And I wanted to do that specifically because of the, the, um, kind of the stuff I was talking about earlier, like how the visually impaired don't have access or some of the basic human rights that everybody should have like the right to education, the right to their own children. And then something else that Afiya was telling me about was how a lot of people are denied jobs, just because they're visually impaired, not even like fully blind, um, just because they don't have full sight, they, that they'll, people will straight up be like, you can't have this job, but then make up some excuse. Like we're just not hiring right now, but it will be because they are visually impaired. And that's a lot of, um, a lot of the people that are at the Industries of the Blind, that's like their only option to work there because nobody else will hire them.
Mary Martinez (27:46):
And so like the right to education children, um, a job and, you know, money and your independence. Um, the idea of like the visually impaired don't have basic human rights and, and like, they have to work just as hard for those foundational things. I wanted to kind of create that sort of idea in the foundation of the image, like the figures being the foundational element. I wanted to do that with a printmaking technique that is more labor intensive and time intensive because that, you know, printing that one outline of the figures that took me like a couple of hours when I could have just drawn it in with a pen.
Dima Dorosevici (28:35):
Right.
Mary Martinez (28:36):
But, um, even though it's not obvious when you're looking at it, I just wanted that like symbolism to be there and that kind of, um, allusion to like, you have to work so much harder for that foundational right.
Mary Martinez (28:52):
Um, yeah. And that I let them, when we kind of presented our three pieces, I talked about that, how I, how I did that process. And then ultimately they like that over the, the difference visually, they liked the concept and that meaning in the watercolor piece more than the other one, which was just the image. Um, and that's why they ended up choosing that one. And then my, my third image was Afiya and her two children in a grocery store. And, um, that was just to kind of showcase how the visually impaired are just like everybody else, they do everyday things. They go to the grocery store, they're able to live their life and do daily tasks like anybody else. And that was another way to show that, that bond and that closeness between Afiya and her two children, because she was telling me all these stories and anecdotes about like how her, her daughter put her hand inside her pocket, um, and then kind of lead her around and help to guide her. Um, which I thought I thought was just really cute. And so in both of the images, her, her daughter's hand is inside of her pocket and then holding onto the side of the buggy or the shopping cart and kind of pointing out items in the, in the grocery store to show that how they kind of work together. And they're just able to do things differently, but they're still able to do things with that same amount of love for each other. And they're their mom, they're her children.
Julia Alexander (30:51):
I'm sorry. Yes. Um, Okay. Yes. So, but so more specifically, why did you create this piece? I think you already explained it, but
Dima Dorosevici (31:07):
No, not why, but, uh, um, specifically, so you, they, they selected the, you said the watercolor one. Um, so with the printmaking element, and I know you already touched on it a little bit, um, but we kind of want to have your voice there while people are looking at the piece. So can you, can you like break down some details about the piece that you kind of want people to to see, um, and then kinda notice right when they look at it?
Mary Martinez (31:47):
Um, kind of like just a description, like subjectively of like what it is?
Dima Dorosevici (31:51):
Yes, yes absolutely, and just the important things that you put in there that you think are important to kind of take into consideration. Okay.
Mary Martinez (31:58):
Um, definitely I think the, the main focus of the image is Afiya walking with, with her daughter and her daughter's hand is inside of Afiya's pocket. Um, and her son is to her other side and they're holding hands, they're walking down a street, a busy street in New Orleans. And there's a lot of, I tried to create a lot of vibrant colors and sounds, I wanted, I wanted to give the painting a feeling or like a visual sort of representation. Yeah. A representation of, of just like a lot of energy. And like, you can hear the streets and the jazz bands in the background and you can kind of feel the breeze almost. And, um, and so yeah, behind them is a jazz band of three band members. And then they're walking down a street and there's there's ferns and, um, railings along the bright colored buildings.
Mary Martinez (33:17):
Um, and I think the main concept and, and sort of drive behind the imagery is really that focus on that like mother and child bond and how they're all close. Um, not only like physically, they're all very close, but there's that like close emotional bond between them. Um, and Afiya in the image has on sunglasses and a cane, a walking cane to, um, be representative of, you know, her visual impairment. And that was something I talked with a fee about. I asked her just cause I want it to be, um, very clear about that. And I wanted her own opinion on, you know, what's a good way to represent somebody who is visually impaired. And, um, yeah, she said she wanted me to, it was okay because a lot of people do have sunglasses on because even though they might not be able to use their eyes, they can still damage their eyes in the sun.
Mary Martinez (34:29):
So that's fine to have sunglasses on and to have a cane because a lot of people do use a cane. Um, but she did want me to make it known that once she's in Louisiana, she puts the cane away and she's able to like navigate a hundred percent without a cane or without any help. She can, she knows exactly where she is. Um, but just for the audience of sighted people, I wanted them to be aware that this is somebody who has a visual impairment, but there is still, you know, that love and ability to navigate and be her own person with her, with her children.
Julia Alexander (35:13):
Um, so how do you think you or your work will impact the community? Like when they see it?
Mary Martinez (35:25):
I hope that it kind of just allows people to maybe not be intimidated or like afraid to get in touch with the community of, of the visually impaired people. Because I know at least for me, I had no idea like what went on in that building. I didn't know that there was a whole community of people in there that are like so sweet and kind and welcoming every single time we were there. They were just the sweetest people and they were always so excited and happy to see us, just joking and having a great time. And I just, I hope it kind of breaks down some sort of barrier, like divide between the communities because there is just, I, there's just not enough of, like, communication, I don't think, between the two. And it's, I think it's just from a lack of, of knowing, or like just a lack of, you know, people not knowing what is going on inside the building, because it's kind of mysterious, you know, it was just a big solid brick building. And that was kind of the whole purpose of this project was just to, you know, bring people in. And so the building, wasn't just like a big, scary brick building. They wanted some artwork on the walls because there aren't any windows on the building. Um, yeah, I, I'm not sure what I'm expecting to happen, but I know that I'm hoping that it, it kind of changes how people view the building and their interaction with the building for sure. And the people in the building of course.
Dima Dorosevici (37:24):
Right. Yeah. Um, so I guess, uh, kind of branching off of that. Um, so you've already said, it's, it's great, right? That this is happening. It's great that they're putting up you guys's work. Um, and then UNCG is even, you know, going in there and creating that collaboration between art students and Industries of the Blind. Um, and we see a little bit more in the city, I'd say, um, of, of, of the art community kind of embracing local minorities, um, and things of that nature. Um, I guess from that, I'm kind of curious, uh, having this project in mind. Um, what other things do you kind of want ideally, um, to, to see going on in the community? Do you want more of just specific minorities being focused on or, or, or, or like, how, how do you want the, how do you want us as artists? How do you want the art community to, um, to kind of respond to, uh, local, maybe barriers that are, that are put in by society? How do you think you would resolve, um, this scenario?
Mary Martinez (39:02):
Um, that's tough, but, um, I think, I think we really just need to kind of start working together more and even, um, like small scales, you know, just trying to do some sort of collaboration with maybe not even a group of people, but like just one other person that you would totally never do a collaboration with, just to see, you know, to learn something new, because I would never have done this on my own. Not, not out of like fear or anything, but just from like lack of, I dunno, resources, I guess, or like not having any sort of connection to that community. I don't know. I guess I don't, I don't know if, if, if it's maybe a problem. I mean, there is definitely a problem with like, not having enough representation of like minorities, but, um, but like, I think if different groups are able to like work together more just to, you know, have personal growth and learn more about other communities that is like one way to kind of like start out smaller to a degree and like grow from there.
Mary Martinez (40:31):
So we're, we just kind of have more knowledge and we're able to kind of grow progressively more, you know, like have, have an art show with, with totally different type of art. You know, like I, I do a lot of self portrait like, and have like, try to have a show with like, I don't know, like a graffiti artist or something, because I don't know anything about that world. I, you know, maybe try to do something like that, but I don't know, maybe we just be more in communication, we're collaboration with people we don't normally talk to. Cause this has been a really eye opening experience.
Dima Dorosevici (41:13):
I kind of want to use the last couple of minutes to kind of wrap it up and to maybe from this experience with you, um, I'll let Julia, I mean, if Julia has any, any specific questions that she kind of wants to ask you about the experience or about just your art in general, um, let that go down. I know I have some questions. Um, Julia, do you have any specifics? No. Um, so,
Julia Alexander (41:40):
I'm sorry.
Dima Dorosevici (41:41):
I kind of want, I kind of want to know. I think it's interesting. So, Well, first and foremost, I want you to talk about, I want you, I want you to plug your art. I want you to plug, um, what you're working on. Um, whether it be alongside of this project or now, currently right now in this moment, um, or just, uh, stuff about your work, you know, whatever creative process or, you know, interesting stuff that there that's, you know, that are happening in your life.
Mary Martinez (42:21):
Um, wow. I don't think I have any like major art projects or anything going on right now. Um, just cause you know, classes kind of my main focus. Um, I am trying to do more like large scale self-portraits um,
Julia Alexander (42:44):
I've seen the one out there. I like it.
Mary Martinez (42:49):
And um, yeah, I'm going to be working on some pieces for a upcoming project or a show at the Center for Visual Artists. Um, which will be, I don't know what the date is. Should I wish I did that?
Julia Alexander (43:08):
Honestly, that was going to be my question. Like you have two goals. [inaudible crosstalk]
Dima Dorosevici (43:12):
No, it's important. Plug your work, you know, cause you have a pretty important role in all of this. Yeah.
Mary Martinez (43:30):
Uh, okay. So the, the show that I am going to be in is, I should say hopefully, hopefully going to be in, is "Self Recognitions through the Other," which is going to be at the Center for Visual Artists February 7th through March 28th, 2020, um, so a piece or possibly two in that.
Julia Alexander (43:54):
Nice. That's pretty big.
Dima Dorosevici (43:58):
Do you like, do you want to, do you have things that are just thrown around in your mind that you kind of want to talk about that you're thinking of doing in the future or are you just being present as much as possible and you kind of want to just focus on that
Mary Martinez (44:16):
Kind of, my mind's like on planning out my series of paintings for capstone painting next semester. So that's kind of like where my mind has been in terms of my art from like moving forward from here, trying to kind of focus in and hone in on like a certain concept or series. And then also kind of taking that idea and trying to figure out something that I can keep working on and adding to for like the next year or two that I can put towards my grad school applications. Um, but it's definitely going to be driven by self-portraiture and, and, you know, kind of tackling the motions that I can connect with other... That hopefully other people are like able to connect to within my pieces still trying to work.
Dima Dorosevici (45:15):
Yeah, no, totally. I mean, I have another question for you right before we kind of wrap it up. I'm kind of interested in, do you think that an institutional, um, school, uh, environment is necessary? Is it a good thing? Is it a bad thing? What would you say about, you know, not just UNCG but kind of taking your experience in UNCG and kind of looking around and looking at the world. Do you think that that's an important thing to have, or do you, how do you feel about that?
Mary Martinez (45:50):
I think it's totally dependent on the individual. I wouldn't say it's necessary, but for me it's definitely necessary. I mean, I can't even imagine what the heck I'd be doing or like where I would be in my terms of my art career, if it wasn't for UNCG. And I just know that I think it's like so important for myself to have that structural foundation and knowledge for the past four years and going on five years of like, and that's why I decided to like come back. 'Cause I felt like I wasn't fully ready to, you know, start my own solo career as an artist. Um, because I didn't have all the information I needed. I still had so much left to learn and like foundational levels. So I think it, you know, um, educational systems are, they're so important, but you know, they're not necessary for everybody, but for the people that they are necessary for, they're like really necessary for them. You know what I mean? 'Cause you know, you can make it on your own if you don't go to school, if you just have like, you know, the drive and the wherewithal to do it. But you know, I just wanted to have that solid framework of this is basic stuff like just foundational learning. Um, so yeah, for me personally, I am a huge fan of school.
Dima Dorosevici (47:34):
Well, I mean with that, I, you know, me (Dimitri) and Julia,
Julia Alexander (47:42):
Same here.
Dima Dorosevici (47:44):
Mary Martinez. Um, but with that we wrap up our interview and we really appreciate you taking your time out of your schedule to come and talk with us and tell us a little bit more about you, your art, your creative process and just everything in between and specifically, um, the, this project that the UNCG School of Art, um, collabed with, um, the Industries of the Blind, um, and also Afiya, you know? Um, so thank you to everyone for making this happen and uh, catch you next time.
Original Format
recorded group interview
Duration
0:48:17
Bit Rate/Frequency
192 kbit/s
Collection
Citation
Alexander, Julia and Dorosevici, Dima, “Group interview with Mary Martinez,” accessed April 29, 2024, https://uncglibraries.com/publicart/items/show/14.