Mano-Made: New Expression in Craft by Latino Artists Jaime Guerrero

Mano-Made: New Expression in Craft by Latino Artists is a trio of solo exhibitions by Mexican-Californian craft pioneers curated by Emily Zaiden, Craft in America Center Director. This exhibition catalog focuses on the work of glass artist Jaime Guerrero.

Mano-Made: New Expression in Craft by Latino Artists is a trio of solo exhibitions by Mexican-Californian craft pioneers curated by Emily Zaiden, Craft in America Center Director. This exhibition catalog focuses on the work of glass artist Jaime Guerrero.


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August 26 – October 7, 2017

Craft in America Center

Los Angeles, CA

The first in a trio of solo exhibitions by Mexican-Californian craft pioneers

Curated by Emily Zaiden

Broken Dreams installation

ISBN # 978-1-5323-5108-2

© 2017 Craft in America

Printed in Los Angeles, CA

Designed by Stacie Martinez

Printed by Typecraft, Inc. in Los Angeles, CA

This catalog was published in conjunction with the exhibition:

Mano-Made: New Expression in Craft by Latino Artists

Craft in America Center

Los Angeles, CA

August 26, 2017 - January 20, 2018

Curated by Emily Zaiden

Craft in America Center

Mano-Made: New Expression in Craft by Latino Artists is part of Pacific Standard Time: LA/LA, a

far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles,

taking place from September 2017 through January 2018 at more than 70 cultural institutions across

Southern California. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank

of America.












Carol Sauvion | Executive Director | Craft in America

In preparation for Jaime Guerrero’s Mano-Made

exhibition at the Craft in America Center, part of

our partnership with the Pacific Standard Time:

LA/LA Initiative, I revisited the catalog we produced

in 2015 for the California Handmade exhibition,

which featured the work of over eighty established

and emerging California craft artists. The

exhibition was my first opportunity to see the

work of Jaime Guerrero: his monumental sculpture

Farm Worker.

When I first stood in front of Guerrero’s towering

Farm Worker, created in hot-sculpted blown glass,

I experienced awe at the power of the message

and appreciation of the artist’s ability to create

life-size sculptures in the challenging technique of

sculpted blown glass. The combination of beauty

and social commentary in Guerrero’s work proves

his mastery of this demanding technique and his

dedication to advocating for the underserved.

When Craft in America Center Director Emily Zaiden

decided to curate three one-person exhibitions

for our Pacific Standard Time: LA/LA partnership,

we both agreed that Jaime Guerrero should be

given an exhibition. Guerrero responded enthusiastically

to Zaiden’s invitation and chose to sculpt

an installation of life-size children and a glass

piñata − incorporating a visual metaphor for

children being held at the border. In his words,

Broken Dreams installation

“I’m working on a new body of work right now

that’s children running or congregating around a

piñata, which is normally seen as a celebration.

The pieces are referencing refugee children who

are trying to escape persecution or violence.

When you’re a little kid and you’re hitting a piñata,

you want what’s in that piñata because it’s hope.”

Jaime Guerrero will be featured in the NEIGHBORS

episode of the Craft in America documentary

series, which airs nationwide on PBS. We filmed

at the Corning Museum of Glass as Guerrero

created the figure of a small child for the exhibition.

Susie J. Silbert, Curator of Modern and

Contemporary Glass at the museum, had these

thoughts about his clear glass sculptures: “What

makes Jaime Guerrero’s work unique is the way

that he’s using sculptural glass to talk about

issues such as race and identity and politics.

And, in particular, he is using the fragility and the

clarity of glass to talk about things that are often

concealed like the lives of immigrants and other

migrants coming over the border. We don’t often

see them, but in rendering them in clear glass, he

is allowing us to both see and not see them.”

My thanks go to Jaime Guerrero for his sensitive

translation of a societal reality into a glass

installation and to Emily Zaiden for her scholarly

work as curator of Mano-Made and writer of this

revelatory catalog. It is with great pride and

gratitude that I welcome Jaime Guerrero’s small

children and their piñata to the Craft in America

Center. Hopefully, the events surrounding the

exhibition will open dialogs and make a difference

for them.




Emily Zaiden | Director & Curator | Craft in America Center

Mano-Made: New Expression in Craft by Latino

Artists is a trio of subsequent solo exhibitions

by three preeminent Mexican-Californian artists —

Jaime Guerrero, Gerardo Monterrubio and Consuelo

Jimenez Underwood. Each artist employs unprecedented

formal approaches to material and asserts

conceptual perspectives that have otherwise been

excluded from the canon of the contemporary art

world. With prowess, they all push the potential

of their chosen media to new heights of expression.

These three individual artists are unified by their

desire to communicate ideas and stories through

their works. For each artist, personal identity and

cultural heritage play a strong part in the narratives

that they touch upon in the art. Each uses

craft to articulate messages about American and

Chicano culture, personal experiences, Latino

and bicultural identity, and the ever-mutating sociopolitical

tensions that exist in California and the

United States as a whole. The significance of the

object as artifact and the role of the artist in

sculpting this legacy, is a fundamental pursuit

to all three.

In planning these three exhibitions, it was evident

from the outset that each artist would generate

powerful and timely elucidations, but their commentary

became even more pertinent over the

past year and a half as the global political climate

shifted. Each artist tackles the fiber of monumental

social struggles through their work, yet they scale

their approach to the intimacy of the gallery space.

The Craft in America Center, as an alternative art

space in the heart of Los Angeles, served as a

laboratory for their exploration and expression.

For Los Angeles native Guerrero, whose show is

the first in the series, reverence for the figurative

form, and the spiritual and metaphorical potential

of glass to represent a culture at any given time,

are pathways for investigation. Jaime is one of

the few and first artists in the world to hot sculpt

life-size figures in glass. For this installation of

his work, he created his most compositionally

ambitious group of figures yet. The inherent nature

of glass in its duality of strength, yet fragility,

mirrors the nature of the human body and gives

his work added impact.

He takes glass into untapped realms with his

remarkable ability to imbue his medium with

palpable emotion and spirit. Occasionally, the

end result is a lighthearted romp in street culture.

However, in recent work, as exemplified by this

installation, Guerrero wades deep into the

waters of postcolonialism to confront paradigms

of bicultural identity.

Monterrubio’s intense exploration of the ceramic

vessel and its trajectory of serving as a canvas

for transporting cultural narrative is a driving

theme in his work. Located between muralism

and street art, two realms of the art world that

have been linked with Chicano art, his approach

to imagery on porcelain taps into pan-global

traditions that span all of cultural history. Like

Guerrero, who is inventing relics for the

contemporary world and bringing to these the

voices of those who are normally muted or

silenced, Monterrubio’s brush records glimpses

of life in urban Latino culture with the same

desire to document modern society for the sake of


Recently known for her series of large-scale

depictions of geographic borderlines, Underwood

instills new meaning into the cartological representation

of various border states and American

cities. Incorporating various fiber materials,

found objects, wire, and nails, she creates powerful

works of dynamic beauty that spark discussion

about the boundaries that define place and

identity. Consuelo’s art consistently reflects her

personal tricultural perspective and fundamental

belief in the interconnectedness of societies.

Beyond the identifiable cultural implications, she

is compelled to shed light on the detrimental

impact of the border wall on surrounding animal

and plant life. For Consuelo, our imprint on the

natural environment is the most significant

artifact that modern society will leave behind.

Working in glass, clay, and fiber, these three

pioneers are using traditional, age-old materials

in visionary ways to voice the conflicts and

uncertainty that are at the forefront of American

culture in this unpredictable time.








Emily Zaiden

“What I hope for people to take

away from my work is some kind

of a connection, an experience or

deeper interaction that is unspoken.”

Little Girl with Hands on Her Face, 2017

Blown and hot sculpted glass

31”h x 11”w x 9”d

In an era in which power, morality, and

order are constantly in question, what

will be the relics that our society leaves

behind as records of this tumultuous

time? Manipulating the medium of glass

with pioneering dexterity and imbuing

it with unprecedented emotion, Jaime

Guerrero has given form to the crisis he

sees our nation facing with the ethics of

immigration policy. Around 2008, as the

economy spiraled downwards and the

fallout became clear, Guerrero sought

metaphysical refuge in ancient Mesoamerican

figurines and he began generating an

ongoing series of replicas in glass. These

studies in anatomy and expression have

guided his process for immortalizing

people from modern day California with

the dignity of those ancient beings.

Although frozen in time like his glass idols,

the children he has chosen to depict

in his installation, Broken Dreams, are not

gods and goddesses. They are the largely

invisible, anonymous, and overlooked

unaccompanied minors who are detained

at U.S. borders on a daily basis. His

installation serves to humanize these children

and to contrast their reality alongside that

of children who come to the U.S. under

more fortunate circumstances.






“Your connection, your counterpoint with an

audience, that moment of connection, whether

it’s metaphysical, conceptual, physical, intuitive,

abstract whatever − that connection with the

work is an intersecting experience for me.”

Guerrero's uncle, Juan Miguel Guerrero, competing in a charreada.


Guerrero, who was born and raised in

Los Angeles, has been tied to his innercity

community of Boyle Heights as an

artist and teacher for his entire life. A first

generation native Angeleno, Guerrero’s

parents both came to Los Angeles from

Zacatecas, Mexico to put down roots in

the late 1960s. His mom grew up in

Momax and his dad is from Huanusco

and both of their families have long

lineages of champion charros (cowboys)

who have competed at the charreadas (a

type of Mexican rodeo). One of Jaime’s

favorite childhood memories was visiting

his grandparents in Zacatecas when he

was about six. While visiting, he rode

horses, went avocado picking and saw

his uncle win a rodeo. These distinct

experiences were different from life back

in urban East Los Angeles and resonated

with him. Tapping into the cowboy

grit in his DNA, Guerrero tackles his

large sculptural projects with cool,

collected resolve.

Jaime’s parents supported his interest in

art and his decision to study at California

College of the Arts in Oakland in the mid

1990s. Jaime received a scholarship to

study glass during a summer program

that opened doors of possibility. He walked

into the studio and fell in love at first

sight while watching the transformative

process of hot liquid being shaped into

solid form. He also realized that he was


more comfortable working directly in the

medium of glass rather than on paper.

Guerrero always follows his intuition, and

he knew then that he was going to pursue

glass for the rest of his life.

After finishing college in 1997, he honed

his technical abilities and produced

incalmo (the technique of constructing

an object by fusing two or more blown

glass elements) plates, bowls, and vases

for several galleries, including Gump’s in

San Francisco. The commercial success

of this decorative work allowed Guerrero

to develop his understanding of the

material and eye for design.

A workshop Guerrero took with Muranese

glass maestro Pino Signoretto led him

to study with Signoretto in Murano, and

also at Pilchuck Glass School Signoretto’s

pioneering methods for hot shaping large

figurative sculpture enthralled Guerrero

and they have remained immensely influential

on him. Signoretto taught Guerrero

to focus on the execution of detail as well

as the sum and proportion of the parts.

Guerrero ventured outside of his decorative

bread and butter into figurative sculpture

based on pop and urban street culture

starting around 2006. Guerrero’s Homies

commemorated a line of collectible figurines

by the same name that debuted in

the late 1990s and were popular with

kids in Southern California, and beyond.





Facetiously playing off of stereotypes

of Chicanos from East L.A., the

personalities of these droll plastic

caricatures were conveyed through

gesture, clothing, posture, and facial

expression. Guerrero translated the

Homies into glass along with all of

their idiosyncrasies, inflating them

from a few inches to over a foot in

height. In doing so, it initiated a new

pathway of figurative investigation

for him.

Around the same period, his pop

Luchadores series of Mexican wrestling

masks memorialized the vivid

disguises that transform pro wrestlers

into their competing personae. In the

vein of the work of Einar and Jamex

de la Torre, as described by curator

Tina Oldknow as “MexicaniDada,”

Guerrero continued his involvement

with the iconography of Chicano

contemporary culture. 1 Guerrero

recontextualizes these prop masks

as modern idolatry, elevating each

mask on its own pristine pedestal

and mounting them in the same

manner that museums display their

anthropological, ancient treasures.

The fan base surrounding luchadores

has as much adoration for the theatrical

sport as prior cultures had for

the battles of their own warriors

and gladiators.

Over the past ten years, Guerrero

has explored icons and heroes both

with humor and sincerity. Guerrero

engages the idea of artifact as record—

both those of antiquity and those that

serve as physical documents of

contemporary culture. He straddles

this continuum, seeking out both the

sacred and the profane as equally

indicative of who we are as a culture.

Homies (left to right): Lencho, Chuy & His Pit and Mario

Mascaras Installation


Oldknow, Tina,

'MexicaniDada’: The

de la Torres’ Fine Art of

Sacrifice, Einar & Jamex

de la Torre: Intersecting

Time and Place, Museum

of Glass: International

Center for Contemporary

Art, Tacoma, Washington,

2005, p. 8

Idolos (top left to

bottom right): Relic,

Olmec Head and

Female Seated Figure

Farm Worker


Addison, Laura M.,

Flux: Reflections on

Contemporary Glass,

New Mexico Museum

of Art, Santa Fe, 2008,

p. 22-41

He has formed links between idolatry of

ancient civilizations and the folklore and

legends of popular culture today. In part,

Guerrero excavates the significance of

the modern relic and in addition, how

glass comes into play as “artifactitude,” 2 a

term coined by curator Laura M. Addison

to characterize glass representations of

stone or ceramic archaeological treasures

as generated by artists including

luminary William Morris.

In his ongoing series of spiritual idols,

which he began around 2008, he replicates

serene statuettes, busts and

masks of the ancient American cultures.

He reincarnates them for this day and

age when we may need these reminders

of the flux and survival of human civilization

the most. Taking cues from Morris

and others who referenced worldwide

mythology for universal implications,

Guerrero reclaims the idolatry and history

of his own ancestral roots. These ancient

deities, iconic figures and mythical beings

take on renewed lives and power in the

hands of a postcolonial Chicano artist.

They also lead us to reconsider who the

enduring heroes and heroines that represent

this day and age may be.

In his more recent work, he has fully

committed himself to illuminating the heroic

bravery of those migrating to start new

lives in the U.S. His masterful Farm Worker

from 2014 was an incomparable achievement

of method and technique that lionizes

the anonymous migrant laborer in larger

than life scale. His looming figure, arms

raised in submission and with religious

overtones, speaks to those who are

criminalized for leaving their homes and

families to seek opportunities offered in

other places. Guerrero uses his work to

create dialogue about vilification and

incarceration of people of color and the



prison industrial complex. The subject of

immigration is near and dear to Guerrero

and it is his focus in Broken Dreams.





In the case of his Broken Dreams installation,

his subjects are unaccompanied

children who risk their lives to make the

journey, fueled by their own fortitude.

By creating these large figures, he gives

these children permanence and a presence

that may outlast political waves of

propaganda and policy over time. They

come to escape violence, persecution

and repression, hoping to find better

lives. They are our modern day warriors.

Unlike his Idolos that resemble carved

stone or clay, his Broken Dreams children

are made of clear glass, or glass in its

purest form. Metaphorically rich with its

unaltered purity, Guerrero is fascinated

by colorless glass and the transparency

of the material– exploring ideas of

ethereality and the ghostlike qualities

of his figures.


to be shot soon

Clear glass can present a memory, a

rough sketch, or halo of an idea or image.

While nearly invisible, it can also be

more challenging to shape because it

is harder to see while it is being worked.

In its finished form, it can have a more

passive quality than other colored or

opaque materials. Guerrero notes that

the shadows it casts can sometimes seem

more real than the figures themselves. A

glass sculpture can almost disappear,

but the shadow is what spells out the

form. Shadows become what he calls

the “alter egos” of his sculptures.

These children, as emotive as Guerrero

has made their facial and bodily gestures

to be, are shells. Their clear, hollow

bodies leave room to be filled with the

viewer’s specific interpretation of who

Girl Reaching For Brother, 2017

Blown and hot sculpted glass

35”h x 18 3/4”w x 19”d






Piñata Boy, 2017

Blown and hot sculpted glass

46”h x 16 1/2”w x 19”d


these children might be. Glass has

been used to form vessels that contain

physical matter since the beginning of

culture. Herein, Guerrero uses glass

to contain concepts of identity, experience,

memory, and hardship.

The motivation to represent migrant

youth coincided with Guerrero becoming

a father and the shift in outlook

that came along with parenthood. The

fragility of his medium symbolically

heightens the tenuous circumstances

that children face and their sheer

vulnerability. These individual children

are divided by a barrier that separates

their distinct experiences. On one side

of the fence, a blindfolded boy bats at

a suspended glass piñata with colorful

streamers while three children experience

a very different reality. Those

three other children are detained behind

physical barriers like prisoners and

surrounded by shards of glass. These

crushed pieces represent how the

young migrants are similarly discarded

from society, as well as how they face

constant perils in their journey across

geography and circumstance.

“It’s important for artists to

talk about the things that

other people are and are

not talking about, to address

issues that are not being

addressed and really, we

maybe the moral markers in

that sense.”

The artist’s Broken Dreams piñata

component is a typical scene from

many Los Angeles households and a

ritual of childhood in Los Angeles. The

piñata is a now ubiquitous part of



birthday parties across Southern

California. It plays a strong symbolist

role in Guerrero’s installation, looming

outside of the realm of contact

for the detained children. It is the

pin the tail on the donkey of recent

generations. As a party game, it

involves what is essentially a semiviolent

act of giving each child a

chance to whack the piñata while

blindfolded so as to attain the prizes

contained within. No one knows

who will take that winning hit that

cracks the piñata open, and anyone

is a contender. Once it breaks open,

the mob frenzy begins and everyone

fends for himself or herself as the

kids amass as much candy or prizes

as possible. None of these children

are able to see what lies before

them. In each case, their eyes are

covered. However, the fate of the

children on one side of the arbitrary

dividing line will confront obstacles

that the child batting at the piñata

could not ever conceive.

In terms of process, his singular

technique of forming a life-size

figure while hot, from the inside and

outside, is unprecedented and

extremely challenging. With territory

conquered by only a few predecessors,

Jaime has boldly raised the

bar with the scale of his figurative

pieces. Few glass workshops

nationally are able to accommodate

work of this size, and even fewer

glass crew members are equipped

to execute the work. Guerrero

approaches the work in parts often

starting with the head, then the

arms, and shirt and finishing with

the pants and shoes. All of these

parts are put into kilns where they

are stored at the right heat until they

are attached hot and then placed

back into a kiln.





The weight and bulkiness of these

parts as they are joined is extremely

difficult to balance and manage at the

end of a blowpipe, which requires

exceptional skill and synergy with his

team. Usually, these take a team of six

to ten people for execution.

The coordinated timing of the team

and the steady, even heating of

the components are critical and must

be managed with precision. It is a

given that any glass artist must be

in sync with the team and they must

have good chemistry so that each

player knows what the other is doing.

In addition, Guerrero has to ensure

that the parts will fit together by each

piece being the perfect size and temperature

to slide into another.

“It’s very important for my work

to always be changing, always be

growing, always be improving.”

Balance and support are critical factors

to the engineering of his figures. Some

of the components are blown and

hollow while others are solid masses,

depending on how the piece must

balance. Often, shoes are solid which

helps to support and stabilize the

weight of the piece as it stands.

Signoretto’s wisdom, early on, has

guided Guerrero in conceiving and

executing the structural stability of

the figures.

The invention of new techniques goes

hand-in-hand with the creation of new

sculpting tools to generate the work

and its fine-tuned detailing. The spirit

of the original Studio Glass Movement

stemmed from experimentation, and

at times improvisation, and Guerrero

continues that tradition. Tools are

Little Girl with Hands on Her Face, 2017

Blown and hot sculpted glass

31”h x 11”w x 9”d




invented and sourced to serve his

process. He has commissioned specialized

utensils and he is scrappy in adapting

unlikely everyday objects for these

applications. He has relied upon everything

from a fork to imprint curls of hair,

to a butter knife to add facial detail.

“Process is a huge part of why I create.

I think that process is as important as

the idea. In some cases, I think it’s

more important than the idea.”

Guerrero laments the lack of value placed

on skill in the making of things that has

swept the art world and our culture. He

has dedicated himself to advocating for

craft, first training and practicing to perfect

his technique over time and on a continually

evolving basis. Then, applying that

mastery and mentoring others whom he

guides to enter the field.


Little Brother, 2017

Blown and hot sculpted glass

33 1/2”h x 14 1/2”w x 14 1/2”d


In addition to his studio practice, Jaime

has devoted himself to teaching his craft

to younger artists in Watts, Boyle Heights,

and other underserved communities.

Guerrero has been an advocate for his

neighborhood community. He has worked

to open access for people of color to

work in glass, an expensive medium that

is relatively inaccessible to most. He has

founded two programs with free glass

blowing classes for underprivileged Los

Angeles youth of color. These programs

have given roughly 500 students a sense

of agency, the ability to explore their

potential and their voices, and shown them

that the world is larger and possibilities

exist beyond their surroundings. Prior to

starting his own teaching studio, Guerrero

led the glass program at Watts Labor

Community Action Committee. In 2015,

he started a crowdsourced studio where

local teens could learn to blow glass for

free. He has balanced his time between

mentorship and his creative practice.

Guerrero’s craft is fundamentally motivated

by a desire for social justice and

empowerment. As an artist, he echoes the



initial principals of the Arts and

Crafts Movement, which continued

to feed and characterize the Studio

Craft Movement and craft today.

Those original artists theorized a

creative approach for generating

lasting objects that had implications

for social reform. In Guerrero’s

hands, that philosophy of idealism

remains, along with the spirit of

transformation. Craft provides a

voice, particularly for the underprivileged,

the disenfranchised and

the forgotten. Not only has he chosen

to document contemporary social

conflict in his work, he is also leading

the charge of action by teaching

others to use their voices through

art, in the ultimate act of regeneration

and ideally, cultural change.

Detained children from

Broken Dreams installation



Before I am an artist,

I am a craftsman.

My work is about intersecting experiences

and the rediscovery and

shaping of relics into new forms as a

way of self-questioning. Many things

can exist as relics. In my vocabulary,

relics can be ancient artifacts but

can also exist as metaphors for objects

in our memory. These memories exist

in a place and time, and the objects

associated to them are what I consider

intersecting experiences, which

come in many different forms and tap

into our subconscious in different

ways. My work seeks to connect to

an audience on this level. This connection

to someone else’s nostalgia

of objects in a place and time is

what intrigues me the most.

It is important for me as an artist to

create fine crafted glass sculptures

because it is exactly this interaction

with the material that solidifies and

unfolds the rediscovery process for

me. It is also significant that these

objects be recognizable as a tool for

association. Glass is the perfect

medium to accomplish these goals

because of its ethereal quality and

its nature of transparency.










1974 – Born in Los Angeles, CA


2004 – Summer Program (Juried) with Master Pino

Signoretto and with Masters Checco Ongaro and

Benjamin Moore, Pilchuck Glass School. Seattle, WA

2003 – Summer Program (Juried) with Masters

Checco Ongaro and Benjamin Moore, Pilchuck Glass

School. Seattle, WA

1997 – Bachelor of Fine Arts, California College of

the Arts (CCA). Oakland, CA


2017 – Contemporary Relics: A Tribute to the Makers,

Skidmore Contemporary Art. Santa Monica, CA

2015 – California Handmade: State of the Arts, Sam

and Alfreda Maloof Foundation for Arts and Crafts.

Alta Loma, CA



2012 & 2006 – Saxe Fellowship Award for Outstanding

Artistic Achievement, Bay Area Glass Institute (BAGI).

San Jose, CA

2004 – Scholarship Award, Pilchuck Glass School.

Seattle, WA

2003 – Corning Award Nominee, Nominated by Checco

Ongaro and Benjamin Moore, Pilchuck Glass School.

Seattle, WA

1993 – Scholarship Award, California College of the Arts

(CCA). Oakland, CA

Piñata Boy, 2017

Blown and hot sculpted glass, wood

46”h x 16 1/2”w x 19”d

Piñata, 2017

Blown and hot sculpted glass, paper

46”h (includes paper streamers) x 24”w x 7 1/2”d

Little Girl with Hands on Her Face, 2017

Blown and hot sculpted glass

31”h x 11”w x 9”d

2014 – Galería Sin Fronteras, National Museum of

Mexican Art. Chicago, IL

2013 – Torpor, Snite Museum of Art, University of

Notre Dame. South Bend, IN

Little Brother, 2017

Blown and hot sculpted glass

33 1/2”h x 14 1/2”w x 14 1/2”d

2012 – Playing with Fire, Oakland Museum of California.

Oakland, CA

2012 – 50 Years of Studio Glass, The Crucible.

Oakland, CA

2012 – Chicana/o Biennial, Movimiento de Arte y

Cultural Latino Americana (MACLA). San Jose, CA

Girl Reaching For Brother, 2017

Blown and hot sculpted glass

35”h x 18 3/4”w x 19”d

2008 – Blown Away, Museum of Craft and Folk Art.

San Francisco, CA

2008 – Modern Antiquities, Mexican Consulate.

San Francisco, CA

2006 – My Homies, Bay Area Glass Institute (BAGI).

San Jose, CA

2006 – Day of the Dead: Laughing Bones Weeping

Hearts, Oakland Museum. Oakland, CA

2006-2001 – Mastercraft, Gump's. San Francisco, CA

2002 – Substance of Choice, Galería de la Raza.

San Francisco, CA

Photography of exhibition artworks by Madison Metro

All other images courtesy of Jaime Guerrero



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