What is your name?

Hugo Gatica

Where are you from?

I was born in New Jersey but my family is from Guatemala.

Who are your favorite printmakers/biggest inspirations?

Odilon Redon immediately comes to mind. I love how his use of monochrome in his prints elicit a sense of brooding darkness with an almost wonderful sense of uncanny. I've always been a fan of using darkened imagery and abstraction when used together. Eye-Balloon, The Black Flame and L'oeuf are some of my favorite works of his.

What was your first job as an artist?

I used to work as a photographer for Alfa Art Gallery. I was in charge of documenting and archiving the paintings we have on display for the website, as well as taking photos/videos of gallery openings to use in promotional materials.

Where did you discover printmaking and how did you get into it?

I honestly first learned about printmaking in Mason Gross when I needed to take an elective. I had no idea what I was getting myself into, but the minute I saw my professor make an edition and the possibilities that printing has, I was hooked. I ended up taking many print history classes, silkscreen, lithography and a bit of woodblock before I graduated.

What is your biggest rule while printing?

Never work stressed. Because I find making prints relaxing and fulfilling, I don't want that experience to be filled with negative emotions so I make it a habit to not print anything until I feel content. That might change in time when I work on more complicated projects, but it's something I like to uphold now.

Tell us about your family and your designs based on indigenous Guatemalan culture and how you are bringing awareness with your work.

My entire family is rooted in Guatemala, but I've always had a mixed experience with that culture and America's. I'm trying to learn as much as I can about my heritage, more than I know now because I never want to discard the history that my name carries. My father used to be an aspiring artist as well, he still is to a degree, but he gave that up for a life for his family so I want to pick up where he left off and carry that ambition and drive. As of now I've started to establish Guatemalan aesthetic into my work with my most recent print series, but that's only the beginning and I'm excited to see what else I can do to represent the country I love. There is a rich history of artists from Guatemala and I want to carry that in the United States.

Talk about your interest in photography and shows you've been in.

The idea of photography I feel has been ingrained in me for my whole life. I've even kept a few old dated cameras because I'm fascinated by the way they work and the power they bring into art. I've always felt like an outsider looking into the world that is my life, estranged and isolated. I feel the camera lens puts my view of that into concrete ideas. It allows me to share with everyone the view I see. I don't necessarily have a focus in photography yet, but I make it a point to capture unusual and out-of-the-way sights to bring a new dimension of the world we live in. To provide a voice for the quiet observer in all of us.

As of now I've been involved in a few small art shows, and I've even helped put a show together in Raritan Valley years ago. The Printmaking Center of New Jersey (now Frontline Arts) was actually the first time ever my work has been displayed, and I feel immensely proud of that. I've also been branching out into smaller gallery spaces in New Brunswick and have had my photographs featured in Art Impact International, primarily in Virginia.

How are you building your home studio, and do you have any advice to empower other young artists to have their own studios?

There is a lot of backyard space at home, so it wasn't too hard to establish a sort of space to make art. Actually I technically have two, the backyard for prints and my bedroom, which has enough room to be both a place to sleep and to work on drawing/painting/photography. I'm hoping to set up a sort of darkroom for photography at some point when I'm able to get a place of my own.

As for advice, the only thing I can think of is to make it happen if you really want it. There's a lot of workarounds to get the space and tools needed for artmaking if it's something that's important to you. I always think it's the artist that makes the art, not the tools, and it's surprising to see what limitations can bring to an art piece. In essence, don't let anything keep you down.

How has this pandemic and current events changed your life as an artist? What has stayed the same? Discuss the T-Shirt Project with RWJ.

This whole thing definitely has had effects on what I am able to produce. I don't have access to a print studio at the moment, but at the same time it hasn't stopped me from trying to make a smaller space or make sketches at home. I'm more cautious and aware when I go out to take photographs, and of course limit the places I visit and how much time I go out. Thanks to connections I've made in New Brunswick, I've been involved with programs that have helped POC artists, and I've recently participated in an art show (now virtual) to celebrate Pride Month. My methods of making art has changed, but the people I work with and the opportunities I've been given/can give to others hasn't. I'm always up to help lend support for those who need it.

As for the T-Shirt Project, I wanted to create shirts to give out to frontline workers at Robert Wood Johnson, a hospital where my mother works. I'm extremely proud and worried for all the workers who have to come in and out, risking exposure and being involved in this pandemic just to help others. These shirts are my way of saying thanks for the job they're doing. There's no time limit for this project, it's not to hop onto a trend of any sorts but rather out of my want to give something back. Everything is almost done, so I'm hoping to have it all done by mid July if possible, and of course I'll keep the stencil in case I want to give it to anyone else I know who isn't from RWJ.