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The hybrid art of Einar and Jamex de la Torre

The brothers' work is a Baroque mix of the high and the low, the sacred and the profane, Mexico and America. They're the focus of a retrospective at the Craft and Folk Art Museum.

November 07, 2010|By Scarlet Cheng / Special to the Los Angeles Times

High and low culture, the sacred and the profane, the esoteric and the pop collide in the works of Einar and Jamex de la Torre, brothers who have collaborated closely as artists for 20 years.

Although they started working in glass, shaping figurative work that often borrowed themes from their Mexican roots, they have moved toward larger sculpture and installation work, several of which anchor their retrospective, "Borderlandia: Cultural Topography by Einar and Jamex de la Torre" at the Craft and Folk Art Museum.

Their recent work combines Mexican and American culture with a dash of Asian.

"Our work deals a lot with hybridity on so many levels," says Einar, the younger, more talkative brother, during an exhibition walkthrough just before the opening. Jamex stands to one side, gazing about to make sure things are in place.

Around us are wildly colorful glass figures on pedestals and inside showcases, plus larger works such as their versions of "The Last Judgment" in altar form ("La Reconquista"), an Aztec-inspired calendar made of turning wheels with "hearts" dangling from the sides ("La Belle Epoch"), a pair of electronic totems loaded with found objects ("Tula Frontera Norte" and "Tula Frontera Sur") and a surrealistic wall mural of bowls and platters piled with food from several cultures ("Pho'Zole").

In the glass sculpture "Double Happiness K.O.," a laughing golden Buddha also looks a bit like a sumo wrestler; in "Pho'Zole," the artists photo-collaged images of a field of the Vietnamese noodle soup and other dishes from overhead.

"Food sometimes is the first step of acculturation," Jamex observes. "It dawned on us when we were in San Jose in a restaurant eating pho — we realized everyone in the restaurant was Mexican, eating a soup that was somewhat familiar to us."

Their signature style is to encrust surfaces and cram spaces with objects and images. "Some people say our work is Baroque, and we have been influenced by the Baroque," says Einar. "When the Spanish came to America, they were in that period, so Latin America was influenced by that period."

The funhouse quality of the installation is deliberate, says Maryna Hrushetska, the museum director. "We wanted to create an amusement park atmosphere." The calendar resembles a Ferris wheel, she points out, and the sounds of mechanisms grinding and pinging echo throughout the exhibition galleries.

Hrushetska was introduced to the De la Torres through a PBS documentary, "Craft in America." A couple of years ago, she saw their work in person at Koplin del Rio Gallery in Culver City, which represents them. Recently, the gallery featured the new glass and multimedia sculpture of the De la Torres in a solo show, "Animexican." They are also included in an upcoming show at the Getty Research Institute, "Obsidian Mirror-Travels: Refracting Ancient Mexican Art and Archaeology," opening Nov. 16, and they will be giving a talk at the Craft and Folk Art Museum on Nov. 21.

"They address serious topics, but they never lose their sense of play," she says. While many objects and ideas may be crammed into their work, she believes that "even if people don't get what every element is, the joy and the vibrancy comes through."

The brothers were born in Guadalajara, Mexico — Jamex in 1960 and Einar in 1963 — and moved with their family to Southern California in 1972. "We grew up in a household that had a love of craft work, folk art," Einar has said in an interview with the artist Gronk.

Both studied at Cal State Long Beach, and they later ran a flame-worked glass business together. Eventually, they concentrated on their own studio practice and began exhibiting at galleries and biennials. Their work has been collected by such institutions as the Museum of Glass in Tacoma, Wash., the Museum of Contemporary Art San Diego and the Kanazu Museum in Kanazu, Japan, and they have completed half a dozen major pieces of public art.

Today, they maintain homes and studios on both sides of the border — in San Diego and near Ensenada, Mexico. They are frequently invited to workshops and residencies at colleges and institutions; there they get to teach others and also get their own glass work done. "We can't afford to maintain a glass foundry," says Einar.

The De la Torres talk easily, one seamlessly slipping into the conversation as the other slips out. They acknowledge having different personalities, but they work on everything together and find that it is second nature to do so. "Honestly, sometimes I don't remember what I did on a piece and what Jamex did," says Einar.

Certain images recur frequently in their work, such as the Virgin of Guadalupe, the Aztec calendar, and skeletons that reference the Day of the Dead, as well as more lowbrow subjects such as masked Mexican wrestlers, bean pots and tequila bottles. They like kitsch and go on shopping expeditions to buy inexpensive cards, fake money and plastic toys to incorporate into their work.

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