Art of the City: Painter explores memory and the binational experience at NTC studio residency
By her own account, she had a relatively happy childhood growing up as the middle daughter in a working-class family in Tijuana. Sitting in her studio inside Liberty Station, she points to a recent painting that was inspired by a photograph of her and her sister. On the surface, there is a tender reminiscence to the piece, her careful, sweeping brushwork obscuring the faces and giving the painting the look of something barely perceptible and out of reach.
“I love horror and I’m really interested in human perception and human nature,” she says. “So I like to explore all the ranges within these emotions and feelings. I always think of my paintings as having a very realistic quality, but they also lean toward magical realism or even surrealism in a sense. In most of them I’m trying to capture a moment in time and, perhaps, that’s why they appear to be dreamlike or ethereal, but with dark undertones.
The quiet of her own space has also allowed Villaseñor to further reflect on the highly personal nature of her current work. Growing up loving anime and comics, Villaseñor had aspirations of wanting to be an illustrator or even a cartoonist or animator, but says she really began to refocus on painting once she began attending college at Southwestern College and, eventually, UC San Diego. She admits that up until then “she was a little afraid of color,” having done black-and-white illustration for most of her life.
When pressed on what she means by “interesting,” she demurs a bit, but goes on to explain that her current work and much of what she’s producing within her NTC studio are her attempts to “reinterpret” these memories. Yes, they are sacred and some even elicit joy, but even the most nostalgic of memories can be filtered and emulsified, resulting in something that’s not entirely accurate.
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