Cristina Velazquez interviewed by Cecilia Nuin

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Cecilia Nuin: Please talk about your background, and initial art experience.

Cristina Velazquez: I grew up in a rural town called Acalpican de Morelos, Michoacan, Mexico. I was raised in a traditional, Catholic family. My elementary teacher who was also a painter had an art influence on me. He encouraged me to continue drawing.

I migrated with my family to California when I was ten. It was a traumatic experience, and a strong cultural shock. It was hard to adjust to a new environment and a new language. Public school was different in Mexico, and here I was placed in a lower, educational level. Later, I went to Menlo Atherton High School where I had the opportunity to learn theater, and drawing. I also became the president of the Latino events.

I am the first in my family to go to the university, and I got pregnant when I was studying there. I majored in art, and I took classes in drawing, painting, papermaking, and sculpture. I studied advanced painting with Rupert Garcia, and I received a BFA with a concentration in Pictorial from San Jose State University in 2001.

CN Why do you focus in depicting the body?

CV I feel very attached to the body as a form. I work with issues that deal directly with the female body. When I saw the works of other women artists, I realized that I have many issues that relate to other women’s works. I would like to raise consciousness by working on these themes. I was struck by the work of artist Victoria May. I saw her work at the Institute of Contemporary Art in San Jose. I was influenced by her use of materiality -- especially organza. I have always been involved with objects, and I am interested in that sacred space for the afterlife.

CN What is your choice of materials and why?

CV Recently, I have been working in a variety of media. I learned sewing from my mother. I like to put things together by hand, and sewing them helps me get that energy flowing. I use fabrics, like organza and tulle for their transparency. Felt is thick and soft and I prefer it for sculptural work. Sometimes, it feels like clay. When I use thread, it is like if I am using a pencil to draw on fabric. Using objects associated with home allow me to get closer to what I am trying to say. So, women relate to the materials that are in front of them better.

CN How would you like to be known to your community?

CV I would like to be known as an artist that advocates for other women. It is important that we elevate the dignity and respect of women. I like the message that feminists try to work for equality. Ultimately, I see women becoming better human beings.