Today we’d like to introduce you to Tere Garcia
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
Reflecting on my journey, I see a blend of challenges and triumphs that have shaped my artistic vision and who I am. Born in Mexico, my family migrated to the United States in search of better opportunities. This move presented significant obstacles—adjusting to a new country, learning a new language, and adapting to a different culture. As a DACA recipient, these challenges were further compounded, deeply influencing both my identity and my work as an artist.
These early experiences are closely tied to my path as an artist. I pursued a BFA in Photography at the University of Houston, where I engaged with performance art, video, and photography, discovering innovative forms of expression that laid the foundation for my future work.
During my MFA studies at Parsons School of Design in New York, I began to explore migration more deeply. My focus on the socio-political realities of migration, particularly through the architecture of the USA-Mexico border wall, became a central aspect of my artistic practice, examining the barriers faced by migrants and integrating these insights into my work.
Migration and movement have continuously shaped my story. Each place I’ve lived has contributed to who I am today, constantly pushing me toward new opportunities and growth. This journey highlights the dynamic nature of migration, showcasing its role in fostering resilience and creative exploration.
In 2022, after completing the ISCP International Studio & Curatorial Program, I relocated to Miami. I began teaching performance art classes for BFA and MFA students at the Miami Art Institute, and with the closure of the University, I shifted my focus to “Performances in Flux.” This project is a reflection of my commitment to pushing the boundaries of performance art and my desire to support other artists. My role as a curator for “Performances in Flux” stems from my own experiences as an artist. It enables me to understand the challenges other artists face and offer meaningful support. “Performances in Flux” represents a continuation of my artistic journey and a celebration of the transformative power of migration and movement. It embodies my dedication to exploring and expanding artistic expression while fostering a supportive community for fellow artists.
Starting this fall, I will also be teaching at Barry University, where I look forward to inspiring and being inspired by the next generation of artists. Teaching has been a rewarding experience, enriching both my practice and perspective.
We all face challenges, but looking back would you describe it as a relatively smooth road?
Being a migrant has been a journey marked by significant challenges. Despite these obstacles, each move—from Mexico to Texas, from Texas to New York, and now to Miami—has been a step toward building a more expansive and connected network. This bridge of connections, forged through shared struggles and triumphs, has been essential in overcoming the barriers I faced.
Emerging artists often find themselves at a disadvantage, struggling to access platforms typically dominated by more established entities. This issue is compounded by systemic biases that make it difficult for artists and for new and artist-run initiatives to gain the recognition they deserve. Navigating a landscape that often favors established organizations over newer, artist-driven projects. This lack of support and resources posed a significant obstacle, as financial and institutional backing is frequently concentrated in established entities, leaving innovative, artist-run initiatives at a disadvantage.
Moving to Miami in 2022, I faced the task of establishing a new base while continuing to advocate for meaningful representation. This led to the creation of “Performances in Flux,” a project aimed at addressing the very challenges I had encountered. Despite the difficulties of securing funding and resources for such initiatives, this project represents a vital effort to build a supportive community for artists and expand the reach of diverse artistic expressions.
Navigating these challenges has underscored the importance of persistence and innovation in overcoming systemic barriers. By fostering a space like “Performances in Flux,” I aim to address these obstacles head-on, creating opportunities where they are most needed and advocating for a more inclusive and supportive art world.
The struggles we face can be the very forces that drive us forward, shaping our resilience and creativity. To turn these struggles into solutions, it’s crucial to build strong networks of support, seek out and create alternative funding sources, and actively engage in advocacy for more equitable representation. By collaborating with other artists and organizations, developing community-focused initiatives, and pushing for systemic changes, we can transform adversity into a catalyst for progress and innovation. Through dedication, resourcefulness, and collective effort, we can pave the way for a more inclusive, vibrant, and supportive artistic landscape.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
My work intertwines deeply with my personal journey and the urgent issues surrounding the U.S./Mexico border. In 2020, during the presidential elections, I embarked on a journey from east to west along the border, creating “Anti-Monument” as a form of protest. This project involved using a 19th-century photographic technique called Lumen print, intertwining paper into the border fence to symbolically place myself on both sides of the divide. Through this process, I explored the complexities of migration and the physical and emotional boundaries we face.
One of the projects closest to my heart is “Recording the Migrant Trail,” which reflects my engagement with the migrant experience. I created lumen prints using abandoned clothing collected from the harsh desert terrain of South Texas. These garments were found in areas where Eddy Canales, a revered mentor and hero, had previously placed water barrels to aid migrants. Eddy Canales, who passed away on July 30th of this year, greatly influenced this project, which captures the traces of those who have crossed these unforgiving lands, embodying their stories and struggles.
The border wall’s architecture, with its militaristic design and surveillance technology, contrasts sharply with my vision of bridges—symbols of connection rather than division. My video installation “The Jaguar and The Border Echoes” further explores this divide by linking the human migrant experience with the endangered Jaguar, highlighting the broader implications of border policies on both people and wildlife.
Having lived as a migrant in the U.S. since 2000, I have not been able to return to my homeland. This separation fuels my work, emphasizing the profound impact of borders on our lives and inspiring me to challenge and transform these barriers through art.
What sort of changes are you expecting over the next 5-10 years?
In reflecting on the industry look and how it influences my work, I recognize a landscape that can often be defined by commercial interests and conventional expectations. The art world frequently prioritizes marketability and trends, which sometimes overshadows the deeper, more personal narratives and critical themes that artists like myself strive to address.
My approach diverges from this mainstream industry perspective. Rather than conforming to established norms, I prioritize authentic and meaningful engagement with the issues at hand. For instance, my projects, such as “Anti-Monument” and “Recording the Migrant Trail,” are driven by a profound commitment to exploring and critiquing the socio-political realities of borders and migration. These works are not designed for commercial appeal but rather to provoke thought and foster understanding.
The industry’s focus on commercial success often means that unconventional or politically charged work might not receive the recognition it deserves. However, I believe in the power of art to challenge and change perceptions, even if it means stepping outside the conventional gallery space. For example, “The Architecture of the Wall” and “The Jaguar and The Border Echoes” are projects that push boundaries and invite viewers to engage with the broader implications of border policies on both human and environmental scales.
Through Performances in Flux, I seek to create platforms that prioritize artistic integrity and social relevance over market trends. By curating events and exhibitions that highlight performance art and experimental videos, I aim to provide spaces for emerging and critical voices that may otherwise be marginalized.
In navigating this industry landscape, I am committed to staying true to my vision and values, even if it means challenging the status quo. My work is a testament to the belief that art should be a force for reflection and change, transcending commercial interests to address the pressing issues of our time.
Contact Info:
- Website: https://www.performanceinflux.com
- Instagram: @tere.senyase
- Facebook: @performance_in_flux
Image Credits
Steven Baboun
Angel Lartigue
