On Rising Above Conformity: Natalia Rocafuerte
In conversation with bbatx committee member Amanda Vaughn, bbatx resident artist Natalia Rocafuerte discusses how she got her start DJing, what she’s been listening to lately, and how she commits to being her authentic self through her art.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, as part of the series, we’ve got an interview with new media artist, DJ, and filmmaker Natalia Rocafuerte. In conversation with bbatx committee member Amanda Vaughn, Natalia talked with us about how she started DJing through Chulita Vinyl Club, her greatest influences and inspirations, and how she commits to being her authentic self through her art and DJ practice.
ABOUT NATALIA ROCAFUERTE:
Natalia Rocafuerte is a Mexican-American new media artist, filmmaker and community organizer creating work on perception, analog technology and spatial identity. Encouraging a phenomenological experience by using unconventional technologies, Rocafuerte views her work as a broadcast of alternative narratives and self perceptions. She is also a recent fellow for the New York Foundation for the Arts Immigrant Mentorship program and has work currently exhibiting in San Antonio for Xicanx.
How did you start DJing? We’d love to hear about your first gig, what inspired your name, at what point you branched out more… whatever you’d like to share. :)
I always made mixtapes for my friends and would even mail out CD’s to friends across the world. It wasn't until I joined Chulita Vinyl Club that I was encouraged to share my vast library of records and DJ outside my bedroom. My first gig was through Chulita Vinyl Club during a West Side Studio tour in Austin. I can still feel my heart hiccup when I played my first track publicly. It was a thrill to see people dance and be filled with curiosity as to what the song I played was. I got a lot of support from the Austin queer community and started getting gigs at lesbian wedding parties, Thee Gay Agenda as well as some independent galleries like Sala Diaz and Mass Gallery. I incorporate sound into my installation pieces as a way to explore mood setting through sound as well.
Why do you DJ?
I like exploring sound, and music has always been a source of inspiration. I think a lot of people find it to be the most influential kind of art. It comes in many languages, but you don't really have to know a language to understand sound. I feel really lucky to be alive in a time where we have access to global archives of music. I DJ to explore what everyone is experiencing through sound.
Natalia with Chulita Vinyl Club.
Where do you buy records? What is your favorite record and why?
I love shopping at Bluebonnet Records in Lockhart because they have such an eclectic collection (and the largest Yoko Ono collection in the area). It's also owned by some rad punk rockers who always stock up on weird music from around the world and local bands. I also research a lot of music by labels to support independent labels. I kind of started doing that after going to SXSW parties in high school.
I think a favorite record is hard to pick. It would probably be The Ramones' self titled record or Los Shapis' Los Auténticos.
How do you build your crates? How do you transport all that vinyl?
I like to add what I am currently listening to my crate, and that includes new records I buy and ear worms I keep on repeat. It's kind of an excuse to get to hear my favorite song over and over again. Sometimes I think about records I listened to growing up in Mexico and what comfort they bring and I like to bring those along, too. I like when someone comes up to my turntable and shares their memory of their grandmother who played that exact same song in Mexico. I buy vintage cases for my records (for 45's and 78's) and decorate them with stickers from friends. I also DJ in digital formats which allows me to bring music from friends who upload their music to Soundcloud.
What are your greatest influences? Faces? Places?
I think Honey Dijon is an amazing queer icon and DJ. I also really like Alaska from Alaska y Dinarama and Fangoria. I love Prince, Claude Cahun, Erykah Badu and Yoko Ono. I'm also really inspired by sound artists working to explore sound as medium in installation and sculpture. I'm currently in Detroit and listening to a lot of "classic” techno from here—music for the Motor City.
This season at bbatx, we're exploring the theme of RISE. What does that mean to you, and how do you find rise in your DJ practice?
I feel connected to a greater calling through my art and want to rise above conformity to oppressive ideas of art and gender expression. Decolonize your mind and heart. Rise above tyranny of our people through class and racism. Allow ourselves to dream and be original. I want to be my authentic self and not to operate on conspicuous consumption.
What are you listening to now?
My mix is a collection of music I have been listening to in my room and studio during the pandemic. It's everything twee and everything that reminds me of being calm in my own space. I've been reading The Bluest Eye by Toni Morrison and wanted to include her voice in my mix as something I am listening to. I listen to a lot of artists from Austin—TC Superstar has been on my stereo lately.
LISTEN TO NATALIA’S BABES FEST RADIO MIX. :)
ABOUT THIS MIX:
This mix is a twee and eclectic collection of soothing femme singer-songwriters and multi-instrumentalists. So sweet it can be sour, this collection explores the self through sound and lyrics. This mix is tender—not for the cynical.
TRACKLIST:
Oprah interview with Toni Morrison
Code - The Tuna Helpers (*ATX-based)
Green Eyes - Erykah Badu
Synthesize Me - The Space Lady
Just Another Diamond Day - Vashti Bunyan
Honey - Marine Girls
Blank Girl - Dum Dum Girls
Moving On, Getting On - Christelle Bofale (*ATX-based)
Leave All Your Old Loves - The Liverbirds
Drown - Black Tambourine
Together Forever in Love - Go Sailor
Not Too Soon - Throwing Muses
Dream Phone - Peach Kelli Pop
Cet air-là - April March
Sed de amor - Esther Suarez
Kiss Kiss Kiss - Yoko Ono
Why Do You - Jane Claire (*ATX-based)
I Been Livin - Liv.e
I Miss That Feeling - Tennis
What You Want - Sheer Mag
Together Forever in Love - Go Sailor
Pista - Los Bitchos
Aventurera - Natalia Lafourcade
Knock Out - Air Waves
Comment Te Dire Adieu - Françoise Hardy
Modern Girl - Sleater Kinney
Party Boots - Murdertits!
In Dreams - Little Marzarn (*ATX-based)
Forget about - Sibylle Baier
On Pushing Yourself And Painting What You Know: Catie Lewis
In conversation with bbatx committee member Liz Whitington, Catie chats with us about the inspiration she draws from the creative community in Austin, how she expresses her connection to Filipino culture in her art, and how she creates stories behind her work.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, as part of the series, we’ve got an interview with Austin-based visual artist and muralist Catie Lewis. In conversation with bbatx committee member Liz Whitington, Catie chats with us about the inspiration she draws from the creative community in Austin, how she expresses her connection to Filipino culture in her art, and how she creates stories behind her work.
ABOUT CATIE LEWIS:
Catie Lewis is a self taught artist + muralist living in Austin, TX. She fills her pieces with bold colors and intricate lines, shaping compositions around chaos and simplicity. Her lifelong dreams include beautifying walls worldwide, opening a bright yellow cafe in Siargao and helping other young womxn to be fearless in pursuing their passions.
Tell us a little bit about how you came to be in Austin and how you got into creating artwork. :) How did you get to this path?
After living in Charleston, South Carolina, for a few years, I was looking for a change of pace after graduating from community college. Charleston was a beautiful city but lacked the diversity and opportunities I was looking for at the time. Everyone I knew there raved about Austin and said I would absolutely love it! So after a week of convincing, I found an apartment and signed a lease!
Once I got to Austin, I was immediately inspired by the colorful murals and weekly art markets around the city. A few of my coworkers vended their own art and encouraged me to get back into painting and sign up for a market! I started off with the Frida Fridays ATX market, and I’ve been doing way more art ever since!
Out of all the cities you could have chosen, what made you pick Austin?
Austin feels like a small town but is a larger city. One day I googled the best city to live in for a millennial, and Austin came up as one of the best cities. After doing more research, I found that this city had great food, a creative community and it was priced comparable to Charleston, SC. I felt like I needed a change, and Austin just called out to me. Prior to moving here, I kept getting signs that I needed to be here, so I felt like it was the city that I needed to be in for this chapter.
You mentioned that there was a brief time in your life when you completely lost touch with your creative side. How did you find your way back to your creativity?
It was very important for me to get back to creating and my creativity. When I was in South Carolina, I was in school full-time, had a full-time job and a part-time job—which left no room for anything else in my life. I didn’t have any time to be creative, so I left it on the back burner to focus on things that I thought were important at the time. After moving to Austin, I felt like I got a fresh start. The city has such a rich colorful creative scene with markets, murals, spaces and artists. It inspired me to get back to creating. The community also encouraged me to pick it up again and supported me to succeed as an artist. The creative scene is so diverse while also giving you your own space to create and experiment.
You have a wonderful wide range in your work—from complex paintings, murals, one line drawings, portraits, gouache, as well as textiles such as bags and shirts. What inspires you to create these various disciplines? Are they all inspired by similar concepts that are different interpretations, or does each medium come from different inspiration?
Being self-taught, I really have to try all the mediums and techniques to find the ones that I connect with. I find it easy to paint botanical things, and I am still learning to paint people, so I am practicing working digitally to enhance my ability with portrait painting. For me, my inspiration depends on how I would like to see my inspirations in my work within the various different mediums I use. My work can take me ten minutes to ten hours to make—from minimalistic to complex—both which I love doing and feel are beautiful. This year, I am working on combining portraits and stories to create things that tell more of a story. I am really excited about this new focus and vision for my work.
You are looking to build upon your practice and experience with more meaningful projects and explore the stories of people who make up this community. What community are you interested in exploring, and why does it speak to you?
This year, my goal is to research and do deeper dives into the process of creating the story behind the pieces. Also, my goal (good thing about quarantine!) is to dive deeper into the process of creating. I want to focus on making portraits and scenes of going to the Philippines from three years ago. I was adopted and went back during my senior year of high school. I will always carry that experience of visiting my birth family on this lush jungle island. Visiting my family was a huge turning point in my life and developing a love for them and developing a connection with the Philippines. I was the most comfortable I felt when I was in the Philippines and want this to be more reflective in my work. It was always something I wanted to explore deeper—expressing these feelings about the culture of the Philippines with my art and painting—so I am exploring that medium and concept. It is also a way to challenge myself mentally while I am painting, and I am excited to explore this side.
My end goal is to move back there and live because the lifestyle is different. You do not take anything for granted. I yearn for that life, and the only way I can communicate these feelings is through my art and painting. This was always something I wanted to explore deeper. Exploring that medium and concept—and challenging myself mentally while I am painting.
You recently completed a residency at Deeds Not Words, a community that focuses on calling young people to action for issues regarding gender equity such as reproductive rights, sexual assault, equal pay and so much more. What was this experience like? How did that impact your creative process or work?
Deeds Not Words is a wonderful community whose mission statement resonated with me and inspired me to do more meaningful projects. That group of women blew me away. Being with a group of women that are driven and all focused on their role in the community while still working together as a team had a tremendously positive impact on me and my work. Their passion inspired me. It made me realize that I can try to make a ripple effect with my work and I can change to push a conversation about whatever I think needs to be talked about through my art.
As an artist, how important is it to also be an entrepreneur and maintain the business of your art?
It is a very important balance, but it can be very hard to balance the business side and the artistic practice. You need the business side to sustain your artistic work. Everything costs money, so you need to be able to do bookkeeping, taxes, your website, etc. so that you can sustain yourself. I had to shift how I talked and interacted with people and clients so that I could maintain business relationships and keep everything organized. I am self-taught, so I have to fight the imposter syndrome as I am always learning both the artistic and business side. It is very important that I am always learning and pushing myself. It has taught me to be confident to go for things that I want or need, even if I do not get it. Sometimes it is about going through that process, because it is all a part of the learning process.
What impact has this time of crisis had on you and your practice?
COVID quarantine has definitely put a huge question mark on what it means to have a business during a super challenging time for everyone! It’s hard to push sales, products or commissions as someone who has slowed down financially to others—knowing how crazy this all is in everyone’s lives. On the art side, though, quarantine is a lifesaver. I’m definitely fighting anxiety and lack of motivation half of every day, but the other half I’m just going at my new project and experimenting with my paints! I feel like I kind of wished this sort of free time into existence back when life was normal and I was too busy to make personal art. :)
On Starting a Podcast: An Interview with Kristina Gonzalez Sander
We recently spoke with in bold company founder Kristina Gonzalez Sander about the creative inspirations, obstacles, and stories behind the launch of in bold company’s podcast.
While spending the majority of our time indoors, we’ve all seemed to pick up new hobbies—baking, gardening, rollerskating, and maybe even finally starting that podcast you’ve always thought about. But we’re no strangers when it comes to recognizing the anxious feelings and mental roadblocks that can come when taking on a new project or embarking on a new creative journey.
Speaking with someone who has recent experience with this, we chatted with our friend and community partner, Kristina Gonzalez Sander. As the founder of in bold company, an online journal exploring the raw stories of womxn of color, Kristina recently launched the first season of in bold company’s podcast where she talked with womxn of color in her community about their experiences.
In conversation with bbatx committee member A'nysha Aileen, Kristina discussed the motives behind the creation of in bold company, the barriers she faced when starting her podcast, and how she learned to just do it.
MEET KRISTINA GONZALEZ SANDER
Kristina Gonzalez Sander is the Founder of in bold company, a digital platform and community for womxn of color sparking curiosity, growth, and real connection. By day she's the Director of Sales and Ops at Party at the Moontower Event Rentals. In addition, Kristina is the Co-Founder of missfits productions and an Austin PBS Ambassador.
We’d love to know more about in bold company. :) What is it, and where can people learn more about it?
‘in bold company’ is a community and digital platform created specifically for WoC (womxn of color). We help our audience grow, expand, and shift their perspectives through diverse storytelling, digital content, and experiences. Visit our website for all of our podcast episodes and to sign up for WoC Weekly, a weekly roundup of work and words by other WoC. You can also connect with us (@inboldcompany) on Instagram and Facebook. (:
When did you know that you wanted to start a podcast?
I can’t remember exactly why I knew podcasting was the right medium, but I knew instantly that it was the right choice. I’ve always had conversations with other WoC about the intersections of our identities without even knowing it and definitely before I knew of the term intersectionality. It just felt right, especially since I went to school for journalism and creative writing. I felt like it came full circle.
WhAT inspired you to start ‘in bold company’?
I always wanted to have more of a community and space where I could explore my identity. I’m a first-generation Filipina; both of my parents immigrated to the U.S. and I grew up in a predominantly white neighborhood. I always felt like something was missing a little bit growing up and even into college then after. I feel like I was always going through a low-key identity crisis, but it was hard for me to describe without having the language or anyone else who understood. I sat on this idea for a long time feeling like I wasn’t enough of a WoC… until finally, I said, fuck it. Can I swear? Lol.
As far as what catapulted me to really start? I have to give a big thank you to Nina and Regine from Collective Blue. When we teamed up to produce missfits fest, a one-day festival celebrating self-identifying Asian-American womxn in entrepreneurship and the arts, they really helped me see it was possible and that I was enough to start a community for WoC. The main barrier to starting was my mind.
I was worried about what other people would think. Honestly, you just have do it and get over it. If you sit there and self-sabotage, you’re never gonna do it. I sat on the idea for over a year.
How has your community supported you through the process of creating something new?
The community has been amazing, truly. I couldn’t ask for more supportive people. Everyone’s been really engaged and my hype womxn, haha. I’ve had a lot of people reach out to me and say how ‘in bold company’ has sparked their own self-discovery journeys. It’s really incredible and I’m like… shit, when is someone gonna get mad at me LOL. I hope no one does, but that’s the people-pleaser in me. I want everyone to find belonging and inspiration.
The number of listeners I got were what made me feel most supported. I didn’t think we would have that many listeners. We’ve had over 3,000 downloads. The people that message us and say that they like what I’m doing also make me feel supported.
Photo at Miranda Bennett Studio by Ailin Hyde.
Kristina on her honeymoon in South Africa, wearing Tribe and Sol.
Can you tell us about some unexpected challenges you’ve faced as a podcast producer?
OH SO MANY, to be totally honest. Well first, I launched during COVID, at a time when everyone was like “terrible time to start a podcast!” And I was like welp, fuck it, I have to do it anyway. I knew I was competing against a LOT of content and people’s brains. COVID seriously has put us all through the wringer. There is not one person who I feel like hasn’t been impacted by the pandemic in some type of way—burnout, financial stress, job stress, etc.
Then with the start of the current civil rights movement, I wanted to flow with what my community needed at the time. I didn’t feel like it was right to continue promoting my podcast. Right at the start of the movement, there were other voices that needed to be heard and amplified. In addition, I wanted to learn from many of the Black folx who were speaking and advocating for Black lives. I’m always learning and I wanted to be intentional by really listening, absorbing, and processing information.
I’m never going to say I know it all, because I don’t. I put the pod on pause so I could take a step back. Moving forward into season two of the podcast, I will continue highlighting those folx in our community who are doing amazing work and who I know our community can learn from, too.
What advice do you have for others interested in starting a podcast?
Omg, I got this advice and I didn’t do it, lol. Record as many episodes as you can before you launch, truly easier. I didn’t do it. But hey, now I know why! Mistakes are good. I advise talking to someone with experience. Myrriah Gossett is a great podcast consultant.
I also took a podcast course, to be honest with you. I like learning, I like homework, and it was way easier for me to learn that way. You don’t have to, there’s a lot of free content out there, but my mind needs structure! Definitely listen to a lot of podcasts to see what you like in them. Some of my favorites are Food Heaven, Woke Beauty, Let it Out, 1619, and Code Switch.
Lastly, just do it! You don’t have to spend a lot of money. There’s lots of free information out there to help you.
What are your goals for the podcast?
Looking ahead to season two, I’d like to dig a little bit deeper with the stories that I tell and explore. I would also like to interview more diverse people outside of my immediate network. It’s really easy to interview friends, but I want to challenge myself to interview new people, with unique experiences.
My ultimate goal is to get funding for the podcast. I could interview so many more people, and expand the podcast more.
LOOKING FOR MORE?
Keep up with what we’re up to at bbatx—from virtual events to membership—here. You can also learn more about in bold company and listen to Kristina’s podcast here.
On Making Art For Yourself (Not Instagram): Megan Baker
Megan talks with us about her background in architecture, resisting the urge to over-value social media and her advice for up and coming photographers.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, as part of the series, we’ve got an interview with photographer Megan Baker. In conversation with bbatx committee member A'nysha Aileen, Megan talks talks with us about her background in architecture, resisting the urge to over-value social media and her advice for up and coming photographers.
ABOUT MEGAN BAKER:
Born in Denver and raised in Seattle, Megan has always been surrounded by and involved in art, design and other creative outlets. After starting her degrees in architecture, she became interested in photography and its ability to capture and tell a story through light. For Megan, her excitement in both art and design stem from observing the beautiful intricacies of the human condition, and revealing them to others through whatever medium fits best.
Tell us a little bit about yourself and your background. :)
So, I grew up in Seattle, and I think that really gave me exposure to a lot of arts and creativity at a very young age. My parents were always very supportive of me pursuing art, so when I did show an interest in something, they always let me spread my wings in that field. By the time I got to college, I decided to go into architecture. I have a Bachelor’s and a Master’s in architectural design—which has nothing to do with photography, which is funny when I think about why I picked up a camera to begin with.
When did you know that you wanted to explore photography, and what prompted this decision?
I was always into painting at a younger age. Then with architecture school and being in the studio, it just took so much time that I didn’t have time to paint. I was doing so much drawing and painting for school, I didn’t want to anymore. Then I thought, “Well, I have this camera to take photos of my architectural models. Why don’t I just start taking photos? It’s a faster creative outlet for me.” I started picking up a camera my freshman year. My film professor told me that I had “no real photographic talent or eye” and I said, “F*ck that, I’m gonna keep doing it because I wanna do it. It makes me feel good.”
I just started asking people, “Can I take a photo of you?” and it kind of just took off from there. That’s my interest in design, too—the people. Having that human element in a photo carries across the message more than if it’s just a landscape photo sometimes. It’s the soul of an image. Even if it is a landscape, if you have a tiny person in the frame somewhere, that human interaction pulls people into a story rather than an image.
How have your projects grown and changed since you started?
At first, I was more interested in taking a pretty picture, which is all well and good, I still love doing that, but I have been privileged to experience a lot of different things at a young age—hear different people’s experiences and stories, travel—that kind of popped my perspective bubble of how big the world really is. After a while, creating a pretty picture that would just get me some likes didn’t fulfill me; I wanted to know the people I was photographing, past just their face.
I started trying to use photography to digest the conversations I was having with people, whether it was religion, society, honestly any topic worth discussing. Figuring out a way to visualize what I was thinking, or what I had heard, helps me understand more, and maybe (I hope) helps others understand themselves more, too.
What do you want people to take away from your photos?
I don't have a direct answer for that. I get that question a lot, especially with the projects that I have started doing. That's a heavy question, and I'm not really sure. I want whatever you feel to be how you feel about my art. There’s this quote, “Art should comfort the disturbed and disturb the comfortable.” So whatever you take away from what my art is it, that’s the goal. For me, there's no set rule for what people need to be experiencing from art. And I never want it to be that way. I think that’s the beauty of it. It’s so big that you can let it be what it is for everyone. I used to get really upset about not being able to control what people saw in my art, that they didn’t understand me, but then my friend told me that once you put it out there, you cease to have ownership of it anymore, and that’s always really stuck with me. As long as you like your work, that’s all that matters. If other people like it, that’s just an added bonus.
Do you have any advice for up and coming photographers?
To move away from our current standard of social media fame as a definition of success and talent. And yeah, OK, having a lot of followers can help with business, don’t get me wrong. I'm very active on Instagram as I'm saying this, but being able to detach from that and do the things that really speak to you is important. It doesn't really matter if that’s what’s trending. If you don’t really connect with it, your work isn’t really going to speak as much, and then what’s the point?
I would also say to really put yourself out there. I'm a very shy person, or at least I was. When I moved here for grad school two and a half years ago, I was kind of like, “No, we're going to meet people. We’re going to do the extrovert thing.” I’m still not a great extrovert, but not closing myself off helped a lot. Really being yourself in your art, regardless of likes, is the best advice I could give. From a business standpoint, you really need to be annoying to get the jobs you want. It requires a lot of emailing and a lot of drive.
If you don't want to have to do that, don't do freelance. And you don't have to do freelance. A lot of people think freelance is so fun, and it's not. I'm so thankful that I graduated in December and got a traditional job. Job security is an amazing thing to have. Knowing where your checks are coming from can free you from the weight and anxiety freelance can give you, and then you have more energy to focus on your craft. Don't put freelance on a pedestal, but do what you want to do and be willing to fight for it. You'll send a ton of emails. So many emails. You just really need to bug people. The universe will not let you fail if it was meant for you. If you fail [at freelance] it’s either because you’re not ready for it or it’s not meant for you.
Who (or what) inspires and informs your work?
Friends and the community inspire me. A lot of my inspiration is based on conversations I have. I guess I’m lucky to have friends in this community who are all actively doing such cool things, growing. They say you are the product of the people around you. When everyone is constantly killing the game, it pushes you to do more. They are also ethically killing the game. They're all doing it the right way and that kind of pushes me to do the best I can and to push everyone else to do the same. If everyone around you isn't successful, are you really successful? As much as the famous artists are amazing, I almost can't connect with their work as much because I don't know them. I am more inspired by the people I know.
Can you describe your creative process? What is the first thing you do when you start a project?
I really write a lot down. It's not usually comprehendible. I'm not writing a story. It's usually chicken scratch, a piece of a magazine ripped out and glued in my sketchbook, anything that will remind me of that specific thought from a conversation or an experience. Like, see here on this page I literally just wrote “dancing light, projection profiles, butterfly,” like... what? But reading that, somewhere in my mind, it makes complete sense. I'll be walking and I see something and I’m like, “Huh, interesting, let’s explore that.” I guess I’m trying to physically see that feeling I had, and once I kind of get that little bit figured out, I start researching how I can actually visualize it in 3D. I guess that’s where the architecture has helped me, causing me to be detail-oriented and dive deep into things.
9 LGBTQ+ Orgs to Support (From Home) in Texas
In celebration of Austin Pride, we’ve profiled nine of our favorite LGBTQ+ organizations working to keep Texas queer.
In case you’re new around here, Austin celebrates PRIDE in August. And although our celebrations were a bit different due to the pandemic this summer, Texas’ queer communities are still very much here. :)
We believe celebrating and amplifying LGBTQ+ voices in our community is a continued stay-at-home necessity. So, today, we’re highlighting nine Central Texas LGBTQ+ organizations that you can continue to support (from home) during COVID-19. Read on to learn more about their work and plug in.
MEET NINE LGBTQ+ ORGANIZATIONS AMPLIFYING QUEER VOICES IN TEXAS:
1.) allgo QPOC (@allgoqpoc): allgo celebrates and nurtures vibrant queer POC communities in Texas and beyond. They do this through cultural arts, wellness and social justice programming by: supporting artists and artistic expression, promoting health within a wellness model, and mobilizing and building coalitions in order to enact change.
HOW TO SUPPORT ALLGO RIGHT NOW: You can fill out their Sex & COVID anonymous survey, volunteer, and donate directly to allgo via their website.
2.) House of Rebirth (@houseofrebirth): The House of Rebirth is a transformative initiative and community safe space led by Black Trans Women to assist Black Trans Women affected by oppression. They provide avenues for housing, job placement, counseling and other lifesaving resources in the North Texas area.
HOW TO SUPPORT HOUSE OF REBIRTH RIGHT NOW: You can donate directly to House of Rebirth via their website.
3.) Montrose Grace Place (@montrosegraceplace): Montrose Grace Place provides a safe, welcoming environment for vulnerable homeless youth of all sexualities and genders, providing nourishment, healthy relationships, and hope for the future.
HOW TO SUPPORT MONTROSE GRACE PLACE RIGHT NOW: Montrose Grace Place is currently in need of masculine athletic shorts in all sizes, feminine shorts in all sizes, medium and small leggings and stretch pants, and small feminine t-shirts. They are currently also in need of masculine interview clothes in all sizes. You can volunteer, contact them and donate directly at montrosegraceplace.org.
4.) Kind Clinic (@kindclinic): Kind Clinic was founded in 2015 with the vision of providing sexual wellness and health for all. Since then, they have become a leader in providing Central Texans access to PrEP, PEP, STI Testing and Treatment, HIV Testing and Care, Gender Care, and Telekind, their Telehealth service. Kind Clinic strives to deliver measurable impact for its community by providing state-of-the-art sexual health services to all people, regardless of race, creed, gender or sexual orientation, without judgment or stigma.
HOW TO SUPPORT KIND CLINIC RIGHT NOW: You can show your support for Kind Clinic by volunteering with them or donating here.
5.) Project BAE (@bae_yourself): A program of AIDS Services of Austin (now Vivient Health), Project BAE is an individualized opportunity for young adults (18-24) to have a conversation with a mentor about their substance use, mental and sexual health.
HOW TO SUPPORT PROJECT BAE RIGHT NOW: You can contact Project BAE directly by shooting them a message via Instagram or Facebook to see how you can best get involved with them right now. :)
6.) Transform Houston (@transformhou): Transform Houston is a grassroots campaign led by a diverse coalition of Houstonians committed to making a city where people live free from discrimination. They are committed to improve the lives and legal protections for transgender and gender nonconforming people, and LGBTQ+ people of color.
HOW TO SUPPORT TRANSFORM HOUSTON RIGHT NOW: You can sign their pledge to show your support for transgender and gender nonconforming people, sign up to volunteer to canvass, share your story with them, or donate directly to their organization via their website.
7.) Queerbomb Austin (@queerbombaustin): Erupting every year on the first Saturday in June in downtown Austin, Queerbomb is a radically inclusive Pride march and rally organized by and for Austin’s Queer community in order to celebrate the beauty and diversity of our varied genders and sexualities.
HOW TO SUPPORT QUEERBOMB AUSTIN RIGHT NOW: You can donate to Queerbomb directly to keep the event free in the future. :)
8.) Austin Black Pride (@atxblackpride): Austin Black Pride was recreated in 2016 with queer POC in mind. The founders of Austin Black Pride (ABP) saw that Austin was lacking in spaces and programming that catered to the unique needs of its Black LGBTQ+ community. Austin Black Pride was not created to further divide, bash, or belittle non-Black LGBTQ+ communities; but to instead preserve the culture and history, while also celebrating the evolution of Black LGBTQ+ folk. Their mission is to transform the living and social environments of Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) people of color with a focus on Black LGBTQ+ individuals. They aim to create multicultural opportunities that educate, celebrate, and empower LGBTQ+ individuals of color through the creation and/or facilitation of culturally specific programs, policy, advocacy, partnerships, and relationship building.
HOW TO SUPPORT AUSTIN BLACK PRIDE RIGHT NOW: You can show your support and donate directly to Austin Black Pride via their website or by donating to their Venmo or CashApp (both AtxBlackPride).
9.) Thee Gay Agenda (@thee.gay.agenda): Thee Gay Agenda exists to create a platform for queer artists to be discovered, seen, & connect with other like-minded creatives to make space for otherness everywhere.
HOW TO SUPPORT THEE GAY AGENDA RIGHT NOW: With the help of Austin Black Pride, Thee Gay Agenda has launched Thee Learning Factory Fund: a set of funds that are allocated to subsidize the cost of materials and their series of online workshops for Black and queer individuals who wish to participate. This includes journals, tarot decks, jump rings, stained glass materials, and more. Attendance to Thee Learning Factory is free for all Black and Indigenous folks. To inquire about writing for their blog, becoming a member, attending Thee Learning Factory, or donating, shoot them an email at hello@theegayagenda.com or DM them on Instagram.
LOOKING TO GET INVOLVED?
Check out everything we’re doing virtually for women and nonbinary creatives and leaders (plus the people who support them) here.
On Knowing the Worth of Your Work: An Interview with Whitney Batres
Enjoy our interview with bbatx resident artist Whitney Batres.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with Austin-based visual artist Whitney Batres. In conversation with bbatx staff member Margeaux Labat, Whitney talks about how she learned to develop her artistic voice in college, book recommendations, and how she’s still figuring it all out.
ABOUT WHITNEY BATRES:
Whitney Batres is a visual artist who currently resides in Austin, Texas, with her husband and their cat, Karen. In 2015, she graduated with a BFA in Studio Art from the University of Texas at Austin and stuck around for the people and the food. Her inspiration comes from family and cultural traditions of domestic craft, and she aims to bridge the gap between craft and fine art in her work.
Tell us a little bit about yourself and how you got into making your art. :)
My name is Whitney and I’m from the Houston suburbs, but Austin has been my home for nearly ten years now. Things that bring me joy are food, horrible (but wonderful) movies, and exchanging memes. My husband let me adopt a cat upon the condition he got to name her, and the two of us plus Karen have been a happy little family ever since.
I hate to be a total cliché, but I’ve been making art for as long as I can remember. There’s a spiral notebook somewhere in my parents’ garage full of four-year-old Whitney’s drawings, and quite a few pieces of Rodeo Art. By my freshman year of high school, I knew I’d go to school for art and be a working artist. Once I got into college is when I really started to figure myself out, though, and what I enjoyed doing the most. My middle-school dream of being a professional illustrator didn’t work out, but I definitely prefer what I’m creating now.
You graduated with a BFA in Studio Art from the University of Texas at Austin. What would you say are the most valuable takeaways or lessons you learned from your educational career?
Critiques were simultaneously the worst and best parts of school, for me. Worst, because there were so many times when I felt like I was doing a horrible job, and that no one was liking anything I did. But, the best because those were failures I learned from, and I grew a thicker skin because of it. By the end of university, critiques were my favorite part of any studio class. I don’t know if I would have grown or pushed myself out of my comfort zone had it not been for professors and peers giving me a different point of view. I also don’t know if I would have learned to stand up for myself and my work in the same way.
On the oTHER HAND, do you believe there are certain aspects of being an artist that are best learned outside of a formal education? If so, what?
It may be different now, but when I was a student, there were very few classes about how to be a working artist. We honed our technical skills, we learned all the jargon and lingo, and how to think critically about our work, but when it came down to how to make money and “get yourself out there,” there weren’t many resources for that. I’m still learning what it looks like to be a working artist and it’s definitely not easy, but most of that has come from real-life experience and research. Most artists aren’t represented by galleries, or have mysteriously rich benefactors, and school didn’t really prepare me for that. I’m still trying to figure out how to price my work appropriately, but I’m getting there.
Some book recommendations that have helped me a lot: Art/Work by Heather Darcy Bhandari and Jonathan Melber, and The Graphic Artists Guild Handbook: Pricing & Ethical Guidelines.
From what or whom do you draw the most inspiration from?
Textiles and craft, hands down. The women of Bauhaus are huge inspirations for me, especially Otti Berger and Gunta Stölzl, but I love any and all textile patterns and design. A modern influence for me is a textile artist named Karen Barbé. It’s been really cool to have actual conversations with her through Instagram, and even get permission to use some of her patterns in my work. It’s maybe too long a story to share here, but handicrafts have been important to me since I was a kid for a lot of reasons, and as an adult I have an even greater appreciation for them. My hope is to honor them, in a way, with my work.
You work with many different mediums when creating. Do you have a favorite? How does your art change in respect to the medium?
That’s a hard one! I go through seasons where one medium is more used than others, but I think gouache + fiber paste are my ride-or-die. I always come back and find new ways of using them.
The more tactile the material, the more important it is for me to create an illusion of sorts. I’m not as concerned with representational forms or figures. It’s all about the process of it, and making someone question what they’re looking at - is this a painting or a piece of fabric? Are these stitches or something else entirely? But if I’m working on paper, it’s about the design, and making something that just sings to me in a visual sense. I like creating work with deeper meaning and all, but I like making something that’s just nice to look at, too.
What do you find to be the most difficult aspect of your creative process? How do you work to overcome this obstacle?
Most recently, my biggest struggle has been comparing myself to other artists. Instagram is a great tool for connecting to artists and finding inspiration, but it can also be a big hindrance when you spend too much on it, I think. I’ll be hard on myself for not accomplishing the same things I see other artists do, like selling my work constantly, or being in some gallery or other, or just having a lot of engagement, and that just makes it harder to focus on my own shit. And logically I know social media is just everyone putting their best foot forward, but I still get sucked into a comparison trap. Whenever that happens, I delete Instagram off my phone for a couple weeks and give myself time to find my equilibrium again. Usually it helps, and I feel more like myself afterwards.
If you could give your younger artist self a piece of advice, what would you tell her?
I’d tell her not to be afraid of going after what she wants and valuing her work appropriately. Pricing artwork can be hard if you’re not confident in yourself; young artists want to make a sale so badly they won’t charge what they’re worth, and it’s difficult to unlearn that strategy. Standing up for yourself and believing in what you’re making is a big part of it.
On Austin’s Black History and Acknowledging the Past: An Interview With Funmi Ogunro
Read our interview with Emmy-nominated filmmaker Funmi Ogunro about her upcoming documentary, Austin Black Freedom Communities.
Emmy-nominated filmmaker and previous BABES FEST exhibitionist Funmi Ogunro is making a feature-length documentary on the history of Austin’s Black Freedom Communities. As a native Austinite, Funmi is actively working to preserve and spread awareness about the oral history of these communities through the film. The history of these Freedmen’s communities is essential to note not only when talking about the history of Austin, but within the conversation of Texas Black History.
In conversation with bbatx staff member Margeaux Labat, Funmi recently talked with us about her filmmaking roots, the importance of learning Austin’s Black history, and her advice for aspiring Black women filmmakers.
PS: Funmi is leading a discussion on the history of Austin’s Black Freedom Communities in an event with us this Saturday. Head here to learn more about the event, our speakers, and to grab your RSVP.
ABOUT FUNMI OGUNRO:
Funmi Ogunro is a Nigerian-American Emmy nominated film producer and editor from Austin, Texas. Funmi is a producer for Austin PBS. Most recently she served as the director of photography for Reflections on a Legacy: East 12th Street, a short documentary about the history of East 12th street. Her online comedy web series, Nneka The Uber Driver, was an official selection of the Women of the Lens 2017 Film Festival in London, England. Her short film, Guess Who's Coming to Dinner: Naija Edition toured the United States and premiered at the 2016 Pan African Film Festival in Los Angeles. She is the creator of Art is Cool, a multi service organization specializing in photography, videography, documentary films. In addition to producing, Funmi Ogunro served as the host of Juneteenth Jamboree, a PBS production dedicated to the discussion of Texas Black History.
How did you first get into filmmaking?
After college, I started a children’s show called Funmi & Friends. The show was similar to Sesame Street, and the goal was to teach kids the importance of eating fruits and veggies and moving your body. It was a lot of fun. This was the start of my film career. You can read more about my film journey here.
Can you tell us a little about how Art is Cool—your multi-service organization specializing in photography, videography, and documentary films—came to be?
I started Art is Cool in 2015. Art is Cool started off as a documentary concept. I wanted to create a documentary series around artists of all mediums. My first episode was with artist Beth Consetta Rubel (you can check it out below). After I completed a few episodes, I decided to curate an art exhibition with the artists I interviewed. Over the course of a couple of years, we started doing more and more art exhibits. Then, a few years ago, I decided to include video production as a core service of the company.
For those who don't know, what is your documentary about? Why do you believe that it's an important story to be told and for people to know about?
Like many people in Austin, I grew up not knowing the history of Black people in our city. Only a few years ago did I learn about the 15 + Black Freedom Communities that were part of our city’s establishment after the Civil War ended in 1865. Clarksville, Wheatville, and Southside, for example. It’s time for these stories to be told. Black Austin History is Austin History. Black people created thriving neighborhoods from the ground up, from businesses to schools and churches. In the early 1900s, these same people were displaced from their communities because of discriminatory city mandates. Today, these same regions are some of Austin’s most prominent neighborhoods. Austin Black Freedom Communities is not just a feature length documentary. It is oral history preservation. Through interviews, cinematic shots, archival footage and photos, the film serves as an educational tool to educate the viewer on the rich history of over 15 Austin freedom communities. The film chronicles the time period between 1865 - 1928.
4. During your research process for the documentary, what have you discovered so far about the history of Austin's Black Freedom Communities that you have found to be especially interesting or that has stuck with you?
I am a native Austinite. I spent a lot of time in East Austin as a child because both my parents owned businesses in East Austin. Growing up, East Austin was known as the Black part of town. I never questioned it. I was in awe once I learned that there was a time when Black people lived all over the city: east, west, south, and north. That is especially interesting and fascinating.
Photo courtesy of Six Square - Austin's Black Cultural Arts District
5. What do you hope to be the main takeaway that people have from watching the documentary (once it gets made)?
The takeaway is that Black people, with limited resources, built communities throughout the city of Austin. Black people contributed greatly to the city of Austin. Black people are resilient. The city implemented racist policies that displaced Black people from their homes—their communities—and we need to acknowledge the past in order to move forward.
6. Do you have any advice for Black women looking to pursue careers in the film industry?
Network and work with other Black women in your community. Issa Rae said it best, “Effective networking starts with the people around you, not above you.”
7. Where can people keep up with you? How can people best support the documentary?
You can follow me on Instagram and visit my website. We are aiming to raise $100,000 by December 31st, 2020, for the documentary on GoFundMe. If you are able, make a donation or share the GoFundMe. Monies raised through our GoFundMe campaign will fund Phase 1 of production, which includes filming interviews with historians, archaeologists, native Austinites, and people with direct ties to Austin Black Freedom Communities. I would like to acknowledge the documentary team:
Funmi Ogunro - Director/Editor
Stephanie L. Lang - Creative Producer
Tamar Price - Producer
Rachel E. Winston - Archivist
Juan A. Izaguirre - Cinematographer
Cullen Cooper - Research Associate
Edward D. Floyd - Associate Producer
Odera Anyasinti - Research Associate
Hannah Roberts - Fundraising Consultant
I would also like to acknowledge our Community Partners:
WATCH THE TRAILER FOR FUNMI’S DOCUMENTARY.
On Learning How To Brag And Crate-Building: An Interview With DJ Arlini Martini
Enjoy this week’s interview and custom mix with bbatx resident artist DJ Arlini Martini.
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with DJ Arlini Martini. In conversation with bbatx committee member Amanda Vaughn, DJ Arlini Martini talks about how she got into DJing, her sonic process for setting the mood and pace of her sets, and what she’s been listening to lately.
ABOUT DJ ARLINI MARTINI:
DJ Arlini Martini is an all-vinyl oldies, soul, garage and punk deejay originally from the Rio Grande Valley. She blends yesterday’s favorites with obscure forgotten songs to create frenzied dance parties.
Would you mind sharing your DJ origin story?
I am only a few years into the DJ game. My friend Dusty Brooks (DJ Bobby Hill) had a weekly residency at the Grand Social Club that focused on oldies and soul, and he invited me one night to come out and DJ with him. At this point I only collected records, so that night he had to teach me basically everything about the mixer while I was deejaying. I figured it was just a one-time invite, but he invited me back every week. When he started to add me to the lineup he asked for my DJ name, and I just stuck to my nickname, DJ Arlini.
After a few months of deejaying every Monday night with DJ Bobby Hill, I reached out to the 13th Floor and asked if I could DJ there—I was super stoked when they said yes. Ever since then, I have picked up more residencies and gigs, so now I average about one gig a week.
How has your DJ practice evolved over time?
I started off deejaying only oldies, mainly doo-wop, and even my first gig at the 13th Floor was all doo-wop. I wanted a name for my DJ night, and at the time I was really into female vocalists, so I picked the name “Where the Boys Are” from the Connie Francis song. Over time, my sound has changed to include more stuff I listen to, like power pop and garage, so perhaps I'll change my DJ night name to reflect my style, but as of right now, when people see that it's a Where the Boys Are DJ night, they show up expecting to hear my eclectic mixes.
You DJ using vinyl records, here in a town where we are blessed with such a diverse range of small, local record shops that each offer a unique musical niche. Where do you buy records?
My two favorite record stores are Antone's and Breakaway Records. Antone's has the largest 50's 45 collection in town, and Breakaway usually has great garage and soul records. I have definitely spent entire afternoons digging through their crates!
What is your favorite record?
My favorite record at the moment is one of my newest records. It's a 60's garage record from a Texas band called the Actioneers. It took me awhile to find it, but I finally found a copy for sale from a seller in France. It's actually pretty short - less than two minutes - but it is so frantic and wild, which is the kind of vibe I want my DJ nights to be like.
How did you build your crates?
I separate my boxes into decades, so I have 50's, 60's, 70's, and 80's (I don't have any recent 90's to 2000's 45's). Unfortunately, that is pretty much the extent of my organizing system, which is a huge pain when I am trying to build a crate for a gig. It means I usually have to go through most of my boxes to pull 50 or so records. However, I do have a few "crowd favorites" that I take with me to almost every gig, and I usually have certain times in the night I play them. Other than those records, the rest of the night is filled with whatever records appealed to me the night before. When I DJ, I usually start off "soft" with my 50's records, and then build up to wild garage and soul, and try to end with power pop and new wave songs. I've noticed this progression mimics the mood of the crowd—usually by the time I move to the "newer" more upbeat records, people are ready to dance!
How do you transport all that vinyl?
The only downside to being an all vinyl DJ is bringing my gear to gigs! I really appreciate when clubs or bars have their own turntables, since that means I only have to show up with my records. I used to carry my records in the white 7" storage boxes, which are heavy and difficult to carry. Luckily, I bought a travel case from a friend that is made out wood and has a lock, and is slightly smaller. It has just enough space for a full DJ night, and I don't feel so worried about someone accidentally bumping into it.
What are your greatest influences?
My greatest influence in life is movies. I absolutely am obsessed with movies, especially pre-WWII films. You don't get much of a soundtrack to early movies, but visually, everything is so well-crafted. I try to think of deejaying like a movie. I want everything, even down to my appearance (I try to dress very 60's/mod, but clash it with my piercings and other punk aesthetics, which also mirrors the variety in my DJ sets), to create an experience for people. I love how the music I play reminds people of certain clothes, dances, and time periods, so my crowds get to be fully immersed into my sets.
This season at bbatx, we're exploring the theme of RISE. What does that mean to you, and how do you find rise in your DJ practice?
I often view myself as a very complacent and slow to rise person, but others around me point out the things I have accomplished, and the goals I have been working on. Sometimes it is difficult to brag about myself, so I am trying to work on that this year. It aligns with the theme of RISE, because I really need to focus on lifting myself up. For example, I often downplay my accomplishments as a DJ, but it is something I really rose up to achieve in a short amount of time. I've been invited to play weekenders, and soul nights out of state. I've also had my own residencies, and have been asked to DJ really exciting events.
What are you listening to now?
I've been working from home lately, so I usually have the radio playing in the background. I love satellite radio, so I play a lot of 50's and 60's music to help me concentrate. It is also music that makes me feel happy and makes me dance, which are things I need at this moment in time!
LISTEN TO DJ ARLINI MARTINI’S BABES FEST RADIO MIX
ABOUT THIS MIX: "Frantic Romantic”
Experience the frantic side of early rock and roll with this high energy doo-wop mix (with a few haunting ballads thrown in). Heartaches and unrequited love never sounded so good.
On Bridging the Gap Between Art and Technology: An Interview with Lina Zuluaga
Enjoy our interview with bbatx resident artist Lina Zuluaga (aka Mural Nomad).
Every year, bbatx curates a monthly residency highlighting the work of 10 to 15, Texas-based women and nonbinary visual and musical artists that create work and perform in our programs. As we move to take our programs online, we’ve partnered with Bumble to launch a digital version of The Residency. From now through November 1, 2020, you can tune in for weekly mixes, visuals and workshops from 16 women and nonbinary artists and DJs.
Today, we’ve got an interview with Lina Zuluaga, the visual artist and digital designer behind Mural Nomad. In conversation with bbatx committee member Diamond Hawkins, Lina speaks about how she got into front-end developing as a designer, persevering through mental blocks and the future of our relationship with technology.
Photo of Lina taken by Stefania Antonucci.
ABOUT LINA ZULUAGA (Mural Nomad):
Mural Nomad is a project by artist Lina Zuluaga, a Colombian designer & user interface engineer based in Austin, Texas. She is interested in our relationship with technology and uses a blend of hand & digitally made images to create abstract moments in time. She uses symbols and nonlinear storytelling and has been inspired by art history, technology, cartoons, music and new art processes.
Tell us a little bit about yourself. :)
My name is Lina, and I am originally from Colombia. I moved to the United States as a kid with my parents and was raised in North Carolina. I went to design school and that’s basically what birthed my love for art and design, along with the fact that my grandmother was a seamstress. I would draw with her all of the time, so that’s one of my big inspirations. And then, I got into a lot of technology through design. And I worked—I still work—full-time as a developer. I was a freelance graphic designer, but I always kept drawing. That was what I did when I was going through tough times. I would always be like, I can drink or I can draw!, so I’m glad that I had that, you know? It’s just something that releases creativity and stress. I’m still always trying to explore drawing, not just by hand but also digitally. That’s what keeping me sane right now in this time of isolation.
How do you bridge the gap between art and technology—both in your work and your everyday life?
I’m really into both extremes and exploring our relationship with technology. I’m learning augmented reality right now, and I’ve always said that my drawings are places that don’t exist, something that serves as an escape. To be able to say that I’m doing that actually feels like I bridged that gap. And then the other side of it is, How do I get away from all of this technology? How do I make friends without having to be on the Internet? Stuff like that, making community through the Internet. Which was something that I think everyone initially thought about the Internet. Oh, we’re all going to be connected, it’s going to be so easy. It’s not until times like right now when we’re all locked up inside of our homes and we have to video chat with our families. Like, I’ve never video-chatted with my family. I guess I could have everyday, but now I’m like Hey mom, want to Google Hangout? Or to my friends whom I used to text all the time, now I actually just want to see them. All of these digital concepts that are going on are so interesting to me.
I am still figuring that out how to get away from all of this, because I don't really know. One good way to get away from it while also simultaneously being in it is that game that everyone’s playing right now, Animal Crossing. It’s this island that you go into and you develop all of this… this stuff. It's like The Sims. So then I started looking at video games, and I'm like, is this what it’s going to be?
I mean, hopefully COVID goes away. I hope that we all make the right decisions so that it can go away faster. But it just makes me think about us here, in real life, while also being in another place that is built by technology or virtual reality. That seems so crazy, but now that we're all at home, everyone’s kind of getting used to communicating through digital means. I am obsessed with technology. I like to think that most of the friends that I've made in the community that I've built has been through a digital platform. I have friends that I've never met, but we FaceTime all the time. But it’s also important to try to find a way to stay away from it.
How did YOU become a front-end developer?
One of the reasons why I wanted to go into developing is because my husband is a developer, and he was like, You can do this!, and I was like, I don't know. I'm more of a visual person, you know? But he encouraged me to go for it. So I went to a bootcamp, and it was the hardest thing I've ever done, but I pushed through it. I kept telling myself that I could do it, and I think that my emotional intelligence was what people really liked about me.
I'm still learning so much, though. It’s so weird to go from being the designer to being the developer; it’s weird how some developers talk. I have already had to work with some people who are just the worst. There's a stereotype around male developers and how they speak to female developers. I’ve had experience with the good ones and the bad ones. It’s just all about emotional intelligence—that’s all it is. It all comes down to communication style, empathy, getting together and problem-solving. That’s been very interesting to note as a visual person. Development has taught me to stick with something until I finish it. And I was eventually like, Wow, I see results!
I’m that creative person that will always give you your files on time, but at the same time, when I’m actually drawing something, I'm all over the place because I’m not interested in realism. I’m not interested in portraits. I think a lot of people do beautiful portraits, photographs and paintings. But I want to tap into something that’s not there but that you can still organize, that’s a little bit more chaotic. Because in real life, I need things to be organized.
Photo taken by Stefania Antonucci.
What are the main inspirations behind your work?
The project that I’ve been working on for a couple of years, Mural Nomad, started as me wanting to make drawings that weren't paintings, meaning that I didn't want to make work that you had to frame with a heavy frame. I wanted to make something that was big but easy to carry. So I was like, tapestries! I’ve never worked with textiles, but that’s how it started. It allowed me to just keep drawing. Once I was done with that process, I had questions like, Who's going to print them? How am I going to sell it? So I set up my store. But I think it was more for exploration of different mediums and how to get my drawings out of paper and into digital things or printing on different surfaces, just to see how it’d look.
I started printing scarves since you can use them for many different things. I was in the process of talking to a printer before all of this happened, so hopefully I'll still be able to do that—to actually print something physical and for people to not to be afraid to touch it. I would like to print out zines with my work and then tie that into the work that I'm doing with augmented reality. In a way, it’d be this book, but also an escape. That’s what I'm doing right now, so I'm excited. I’m excited to share it in the near future.
HOW DO YOU GET THROUGH MENTAL OR ARTISTIC BLOCKS?
I am very a curious person and that comes with having way too many lists and way too many things to do. To the point where it's like, Alright, I can’t do any of this, so I'm just gonna sit and stare at the wall for like, four days, and hopefully this will lead me somewhere. But I get through it.
If I don't feel like making anything, I just don’t. I can't force myself. When I started learning augmented reality, I went to a couple of workshops, but I just couldn't. When things weren't working for me, I was just like, Okay, I'm not even gonna try to figure this out. I'm done. But I've taught myself that when I get confused like that, it is because I'm actually learning something. I have come to realize that I just need to push through that feeling. If I just hold on for a little bit longer and push through, then it actually helps me to finish something. There's a lot of self-talk, like, Okay, you gotta do this, you gotta do this.
When I feel stuck, I just remember that life is also just about being here. It's not always about making something, producing something, doing something. I am a person that wants to do a lot. So I have to be like, okay, stop, relax, come back, and give it another try. Slow and steady wins the race is what I always tell myself.
WHAT HAS BEEN YOUR JOURNEY WHEN IT COMES TO PROGRESSING YOUR ART AND FINISHING WHAT YOU START?
I don’t know if anyone’s a genius, but I think that everyone has the potential to be if we just finish our ideas. And that’s the hardest thing ever. I look at my notebooks from college, and the ideas I was writing about back then are so similar to how I still feel. I always ask, Why didn’t I do this then?, but you can’t dwell on those things. You just have to note that it’s still present. A great painting doesn’t take a year to make, like a painting from The Renaissance. People used to work on the same painting for like, eight years, and that’s so crazy to me.
I had a drawing that I started while I was living in New York that I hated, so I put it away for three years or so. But then I took it out and realized that it wasn’t bad, so I started drawing on it again. I had never done that. I started going back to my drawings once I realized I can layer on top of them. But usually if I’m drawing something, I want that to be the piece, but going back to it is really good.
What would you tell your younger self?
I would tell my younger self to stop caring about where I'm going to end up as much as what I'm doing. Because that's going to be more important. Not so much about where you're going to end up, but to care more about what you're doing in the present. That’s so hard to remind yourself just because of the world that we live in.
Sometimes you’re just going and going and going and you don’t really think about why, you just kind of go wherever. Which is cool, because opportunities show up when you least expect them, and everyone says that you just have to be ready for those opportunities. But we often get so wrapped up in this, so much so that you miss opportunities.
A couple weeks ago, I got into an accident. This person ran a red light and smashed into our car. We were going to go get groceries and he totaled both of our cars. I was having a panic attack through the whole thing, but the whole time I was still thinking that I was overreacting. But this shit is crazy! I felt like something was shaken out of me in that moment. It made me think about how none of this other shit matters. I could’ve died.
The more I live, the more I’m like, Okay, I need to weed out all this noise and really just focus on not just me, but on life and living. And then, that would make what I make—my life and art—that much more meaningful.
Take a look at Lina’s visuals showcasing resources for Black folx and how to support Black-owned small businesses.
We’ll be showing Lina’s visuals during all of our virtual events in August, accompanied by a mix made by fellow bbatx resident artist, DJ La Moon. :) For more info on our upcoming events and how to RSVP, head to bossbabes.org/comethrough.
Apply For Crisis Therapy Support: A Resource For BIPOC Leaders
If you (or someone you know) has experienced a crisis event while organizing in the last few months, you deserve care and support. Submit a request for pro bono sessions with a licensed therapist.
NOTA IMPORTANTE: Por favor siga bajando en esta página para encontrar una traducción en Español de este artículo. // IMPORTANT NOTE: Please keep scrolling to find a Spanish translation of this post.
Activists and movement organizers are vital members of our communities. And throughout this pandemic, specifically in Austin, Texas, Black and nonwhite leaders have continued to show up, often putting their own comfort and safety at risk.
From coordinating mutual aid efforts to organizing protests against police brutality, community leaders of color deserve care and support. So, as we roll out our virtual programming in August and September, we’re partnering with therapist and social worker Sandra Olarte-Hayes to connect BIPOC community organizers and protestors in Austin, Texas with pro bono crisis therapy support.
Keep reading to submit your request for pro bono sessions with licensed counselors and therapists.
HERE’S HOW TO SUBMIT A REQUEST FOR SUPPORT:
1.) Who can submit a request for crisis therapy support?
Any and all Black, Indigenous and POC (people of color) community leaders, activists and protestors involved in community organizing in Austin, Texas can apply for one to two pro bono sessions of therapy support with a licensed mental health professional. This resource is designed for organizers who may have experienced a recent crisis event as a result of COVID-19 or racial justice organizing, but is open to any and all Black and nonwhite community leaders navigating a crisis.
2.) Who would I be meeting with once I apply?
This resource has been brought forward due to the organizing work of Sandra Olarte-Hayes (she/her/ella)—a bilingual LCSW, therapist, and circle keeper in Austin, Texas—in collaboration with fellow Black, Indigenous and POC colleagues and therapists, including the following:
Once you apply for a session, you will be placed with an available therapist in their network.
About Sandra Olarte-Hayes: Sandra Olarte-Hayes (she/her/ella) is a bilingual LCSW, therapist, and circle keeper in Austin, Texas. Her healing work has focused on working with formerly and currently incarcerated individuals, young organizers, immigrant youth and families, and individuals on both sides of domestic violence. She also works with clients undergoing family conflict, depression, personal and intergenerational trauma, and racial and cultural issues. Sandra's work is grounded in anti-oppresive, feminist frameworks and she dedicates much of her energy to healing justice initiatives which bridge the gap between healing work and social change movements. She is deeply passionate about restorative justice and bringing healing to individuals on both sides of violence and strongly believes all change, both systemic and personal, are grounded in relationships, connection, and community
Acerca de Sandra Olarte-Hayes: Sandra Olarte-Hayes (ella/she/her) es una Trabajadora Social Clínica, terapeuta, y guardián de círculo en Austin, TX. El trabajo de sanación de Sandra se enfoca en trabajar con personas previamente y actualmente encarceladas, organizadores jóvenes, los jóvenes migrantes y familias, y personas en ambos lados de la violencia doméstica. Ella también trabaja con clientes que experimentan conflictos familiares, depresión, traumas personales e intergeneracionales y problemas raciales y culturales. Sandra basa su trabajo en marcos feministas y anti-opresivos y dedica mucha de su energía a iniciativas de justicia de sanación que acortan la distancia entre la sanación y los movimientos de justicia social. Sandra es apasionada sobre la justicia restaurativa y en traer la sanación curativa a los individuos en ambos lados de la violencia y ella cree que todo el cambio, el cambio sistémico y personal está arraigado en las relaciones, conexión, y en la comunidad.
3.) Where do I submit my request for support?
Click here to fill out this form and submit your support request by September 15, 2020 at 11:59 PM CT. Your request is entirely confidential and solely reviewed by Sandra Olarte-Hayes, a well as other licensed therapists within the support network. (Responses to your request may take five to seven business days.)
Aplica a nuestra terapia de crisis: un recurso gratuito para líderes BIPOC (NegrXs, Indígenas, y de Color)
Los activistas y organizadores de movimientos sociales son miembros vitales de nuestras comunidades. Y durante esta pandemia, específicamente en Austin, Tejas, los líderes negros y de color han destacado y han seguido luchando. A menudo, estos líderes ponen en riesgo su propia seguridad y comodidad.
Nuestros líderes de color locales han trabajado para crear recursos para nuestra comunidad, desde coordinar esfuerzos de apoyo mutuo hasta organizar manifestaciones contra la brutalidad policial, y por eso se merecen cuidado y apoyo. Así que, mientras implementamos nuestra programación virtual en Agosto y Septiembre, también estaremos colaborando con la terapeuta y trabajadora social Sandra Olarte-Hayes para conectar a los organizadores comunitarios y manifestantes BIPOC en Austin, Tejas, con terapia para crisis gratuita.
Siga leyendo para enviar su solicitud y obtener citas gratis con consejeros y terapeutas autorizados.
CÓMO ENVIAR UNA SOLICITUD PARA APOYO:
1.)¿Quién puede solicitar para terapia de crisis?
Todxs lxs líderes comunitarios, activistas y manifestantes Negrxs, Indígenas y de color (POC) involucradxs en la organización comunitaria en Austin, Texas, pueden solicitar una o dos citas gratis de apoyo terapéutico con unx profesional de salud mental autorizadx. Este recurso está diseñado para organizadorxs que han experimentado una crisis reciente como resultado de COVID-19 o la organización comunitaria acerca la justicia racial, pero está abierto a todxs y cada uno de los líderes comunitarios Negrxs y no-blancos que están experimentando una crisis.
2.) ¿Con quién hablaría después de que presente la solicitud?
Este recurso se ha presentado gracias al trabajo de Sandra Olarte-Hayes (ella/she/her), una terapeuta y experta en justicia restaurativa bilingüe en Austin, Texas, en colaboración con colegas y terapeutas Negrxs, Indígenas y de color (POC) , incluyendo:
Una vez que solicite una cita, usted será asignado a un terapeuta disponible en su red.
3.) ¿DÓNDE PRESENTO MI SOLICITUD PARA APOYO?
Haga clic aquí para llenar este formulario y enviar su solicitud para apoyo antes del 15 de Septiembre del 2020 a las 11:59 p.m. CT. Su solicitud es completamente confidencial y será únicamente revisada por Sandra Olarte-Hayes, así como otros terapeutas autorizados dentro de la red de apoyo. (Las respuestas a su solicitud pueden demorar cinco a siete días hábiles).
Looking for more resources?
Head to our blog for therapy network recommendations, as well as virtual mental health resources.