Patssi Valdez: Retrospective of Media

A look into the oeuvre of Patssi Valdez from the Asco years through the early 2000s.

Spray paint LACMA (1972) by Harry Gamboa Jr.UCLA Chicano Studies Research Center

Early Work with Asco

The career of Chicana artist Patssi Valdez (b. 1951) began in the late 1960s, when Valdez, Gronk, Harry Gamboa Jr., and Willie Herrón III formed the groundbreaking art collective Asco. The group focused on the socioeconomic and political issues in their Eastside community as inspiration for their street performance art. They collaborated as equals, but Valdez contributed a female narrative and a perspective that differed from that of the other members. As she noted in an interview with Charles Giuliano: “I’ve been told that if it wasn’t for my presence, the group would have been pretty boring,” (Giuliano, 2012). After Asco disbanded, Valdez began to work independently, exploring a range of media that have included paintings, installation, and collage. 

First Supper After a Major Riot (1974) by Harry Gamboa Jr.UCLA Chicano Studies Research Center

Their performances often occurred where there had been recent gang violence, police brutality, or rioting. First Supper After a Major Riot (1974) was staged at the scene of a police shooting during an anti-war demonstration.

Instant Mural (1974) by Harry Gamboa Jr.UCLA Chicano Studies Research Center

Asco sought to redefine Chicano art by moving it away from the stereotypes of Chicano muralism through works such as Spray Paint LACMA (1972) and Instant Mural (1974).

Untitled by Patssi ValdezUCLA Chicano Studies Research Center

Paintings

Valdez began to focus on painting in the 1980s. She has stated that from a young age she dreamed of being a great painter. She explores interior and exterior spaces in her work, and she favors still lifes. Her paintings are often inspired by her experiences and emotions. 

The Umbrella (1993) by Patssi ValdezUCLA Chicano Studies Research Center

She incorporates cultural and religious iconography as well as imagery drawn from her memories.

Still Life with Frida Kahlo (1998) by Patssi ValdezUCLA Chicano Studies Research Center

These intimate works are a major shift away from her political and public art with Asco.

Studio at Playas (2000) by Patssi ValdezUCLA Chicano Studies Research Center

Paintings of Domestic Spaces

Domestic spaces are a central theme in Valdez’s art. She explores the function and significance of the important spaces in a home, including dining spaces filled with twirling tablecloths and enchanting outdoor paradises viewed through a window. Her still lifes incorporate a vibrant and saturated palette and often feature distorted and swirling objects that are reminiscent of the post-Impressionists. Several of her works, among them Studio at Playas (2000), include a Magritte-esque painting within a painting. 

Hobby Horse (1995) by Patssi ValdezUCLA Chicano Studies Research Center

Valdez has said that she wants to convey the energy of someone who has just left the room.

The Magic Room (1994) by Patssi ValdezUCLA Chicano Studies Research Center

She notes in an interview with Jeffrey Rangel that “nothing is static in the universe,” a concept of perpetual chaos that is evident in paintings such as The Magic Room (1994) (Rangel, 1999).

Untitled by Patssi ValdezUCLA Chicano Studies Research Center

Paintings of Exterior Spaces

Valdez’s mystical garden scenes are captivating, dreamlike compositions. Valdez hints at nearby human life through objects like canes and glasses of lemonade (Untitled). 

Untitled by Patssi ValdezUCLA Chicano Studies Research Center

She uses a softer palette and organic lines in these paintings of exterior spaces.

Imaginary Garden (2003) by Patssi ValdezUCLA Chicano Studies Research Center

In Imaginary Garden (2003), the flora possesses the same emphasis of movement and energy seen in some of her paintings of interiors.

The Headache (1988) by Patssi ValdezUCLA Chicano Studies Research Center

Paintings of Figures

Valdez completed a handful of paintings with figures, which are painted in a style similar to that of the still lifes.

Karen (2000) by Patssi ValdezUCLA Chicano Studies Research Center

Many are portraits of friends and family.

The Dreamer (2002) by Patssi ValdezUCLA Chicano Studies Research Center

She also painted a few goddesses that were inspired by pre-Columbian folklore.

Untitled by Patssi ValdezUCLA Chicano Studies Research Center

Gouaches

Although Valdez mostly uses acrylic on canvas for her paintings, she also works with gouache on paper. She has said that the gouaches began as studies for her larger acrylic paintings; however, they quickly became a new source of inspiration and progression for Valdez. 

Summer Evening (1997) by Patssi ValdezUCLA Chicano Studies Research Center

The gouaches incorporate the same bright colors as her acrylic paintings, but they also include fauvist textures and patterns.

Fenye's House (2000) by Patssi ValdezUCLA Chicano Studies Research Center

She especially enjoys creating the gouaches, since she is able to complete them in less time than that needed for the larger paintings.

Untitled (1990/1990) by Patssi ValdezUCLA Chicano Studies Research Center

Installations

Valdez has created numerous multimedia installations and especially favors large altars inspired by Día de los Muertos, or Day of the Dead. She has also created smaller installations of offerings for Día de los Muertos. 

Untitled (1993/1993) by Patssi ValdezUCLA Chicano Studies Research Center

The installations are often illuminated from above and feature brightly colored, highly stylized ornamentation.

Untitled by Patssi ValdezUCLA Chicano Studies Research Center

She incorporates religious and personal objects into the installations.

Man Among the Ruins (1987) by Patssi ValdezUCLA Chicano Studies Research Center

Collages

Valdez has also worked with paper collage. For many of these pieces, she cut extremely small pieces to create textures and patterns, such as the design in Man Among the Ruins (1987). 

Downtown L.A. (1987) by Patssi ValdezUCLA Chicano Studies Research Center

Valdez has used typography and experimented with graphic design in several of her collages.

Self Portrait (1987) by Patssi ValdezUCLA Chicano Studies Research Center

Many of the collages are portraits, unlike most of her paintings.

Broken (1988-03) by Patssi ValdezUCLA Chicano Studies Research Center

Other Media

Patssi Valdez has explored other media and art forms, such as photography, graphic design, serigraphs, ceramics, set design, and paper fashion. 

Untitled (2003) by Patssi ValdezUCLA Chicano Studies Research Center

The wide range of media employed by Valdez demonstrates her diversity and strength as an artist.

Untitled (1985/1985) by Patssi ValdezUCLA Chicano Studies Research Center

Although she began her artistic career with Asco and is still well known for her participation with the group, Valdez has grown into her own as an artist and is one of the most recognized and successful Chicana artists working today.

Credits: Story

Curators:
-Jamie Nord, CSRC 2018 Getty MUIP Intern
-Xaviera Flores, CSRC Librarian/Archivist

Editor:
-Grace Muñoz, 2020-2021 CSRC Graduate Student Researcher

Special thanks to Patssi Valdez

Made possible through the Getty Marrow Undergraduate Internship Program and the UCLA Department of Information Studies Digital Resource Initiative

Credits: All media
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