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Speaker 1: I think it's also important not only for other audiences

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Speaker 1: to learn about these stories and to learn where our

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Speaker 1: food comes from, but it's also for the farm workers

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Speaker 1: to see themselves in art, to have the feel of identity,

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Speaker 1: of community, of belonging.

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Speaker 2: From Futuro Media and PRX, It's Latino Usa. I'm Maria

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Speaker 2: in no Josa today Narciso Martinez and his journey from

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Speaker 2: seasonal farm worker to artists. On a hot day in

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Speaker 2: Long Beach, California, Narciso Martinez is taking the freight elevator

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Speaker 2: to his studio in a transformed industrial warehouse. The forty

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Speaker 2: three year old artist has thick rimmed glasses and he

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Speaker 2: wears all black.

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Speaker 1: Yeah. So we're in my studio right now. You see

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Speaker 1: a lot of boxes everywhere. I have some.

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Speaker 3: Flatten orange curtains. Here's some grocery bags that I'm gonna

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Speaker 3: draw on.

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Speaker 2: If you're unfamiliar with Narciso's work, he says his studio

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Speaker 2: may look like it's full of.

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Speaker 3: Trash, tangerine Bess containers. Yeah, I collect a bunch of stuff.

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Speaker 2: It's on these discarded materials, Using charcoal and white paint

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Speaker 2: that Narziso draws portraits of farm workers and scenes of

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Speaker 2: life in the fields.

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Speaker 1: I start by looking at the box, whether it is

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Speaker 1: an interesting box.

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Speaker 3: I like it, I don't like it. I like the color.

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Speaker 1: After I'm sure of the composition and of the drawing.

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Speaker 1: I use compressed charcoal. He's messy.

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Speaker 3: It stains his hands and your shirt.

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Speaker 1: And I think it's sort of like parallels what the

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Speaker 1: fields are, you know, like it's all dusty in the fields,

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Speaker 1: you always get dirty.

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Speaker 2: Naziso, who was born in a small town in Wahaka, Mexico,

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Speaker 2: in nineteen seventy seven, says he remembers migrant farm work

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Speaker 2: being part of his hometown's culture.

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Speaker 1: When young adults will come and then go back, they

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Speaker 1: would bring new shirts, really pristine white tennis shoes and

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Speaker 1: nice jeans, you know, and as kids growing up, we

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Speaker 1: want that and so as soon as we are like

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Speaker 1: seventeen eighteen, it's our time to fly.

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Speaker 3: And they tried to do the same.

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Speaker 2: So when he was nineteen, Naziso left Wahaka and followed

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Speaker 2: one of his brothers to Los Angeles.

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Speaker 1: And the first thing I wanted to do was to

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Speaker 1: learn the language. I was like, I want to learn English.

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Speaker 1: I want to know what the songs are about and

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Speaker 1: the movies.

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Speaker 2: For a few years, Naziso worked a number of jobs,

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Speaker 2: changing tires at a mechanic shop, unloading trucks at a

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Speaker 2: plastic warehouse, and at night he went to school. Naziso

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Speaker 2: earned his ged and then enrolled in community college, and

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Speaker 2: that's where he took his first art history class.

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Speaker 3: And then I fell in love with the work of

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Speaker 3: vision went go.

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Speaker 1: I think not necessarily because of the college publics of

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Speaker 1: the subject matter. He painted peasants, farm workers, and I

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Speaker 1: think that those images sort of like took me back

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Speaker 1: when I was in Mexico. I don't know, maybe he

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Speaker 1: was in nostalgia like my family that I left when

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Speaker 1: I came. I don't know what it was, but I

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Speaker 1: was like, you know, I think I'm just going to

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Speaker 1: study art.

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Speaker 2: His teachers encouraged him, so Naziso applied to study art

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Speaker 2: at cal State Long Beach. He got in, but as

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Speaker 2: an undocumented student, he didn't qualify for financial aid. In

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Speaker 2: order to afford school, he joined some family members who

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Speaker 2: worked picking fruit in the orchards of Washington State. Naziso

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Speaker 2: would work in the summers, save all of his paychecks,

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Speaker 2: and return to school in the fall. Today, Naziso takes

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Speaker 2: us through his soul hell exhibition titled Reimagining Essential at

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Speaker 2: the Museum of Latin American Art in Long Beach, California.

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Speaker 2: We're going to hear the stories behind those materials that

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Speaker 2: he uses for his work, and he's going to tell

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Speaker 2: us about the stories he hopes to tell through his art.

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Speaker 2: Here is Narciso Martinez in his own words.

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Speaker 1: Well, we're at the Museum and American Art here in

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Speaker 1: Long Beach, California.

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Speaker 3: We're standing in front of I don't know. I think

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Speaker 3: it's a sculpture.

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Speaker 1: Some people call it an installation, and the name of

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Speaker 1: the pieces called Friends in Freshness.

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Speaker 3: So the sculpture is.

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Speaker 1: Made out of empty produced carbo boxes that I have

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Speaker 1: collected from different grocery stores. I have to give credit

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Speaker 1: to friends who work in grocery stores, and sometimes they

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Speaker 1: bring boxes to my studio, and sometimes I leave some

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Speaker 1: texts on the boxes, like advertising and all those illustrations

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Speaker 1: I've seen around where everything is idealized and beauty fall

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Speaker 1: and you see beautiful people, kids, animals, but you don't

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Speaker 1: see traces of farm workers. I decided to make a

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Speaker 1: porter on each side of the quebe depicting the stories.

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Speaker 3: Of farm workers.

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Speaker 1: This is an image of a female farm worker extended

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Speaker 1: their arms forwards toward the viewer. Every portrait is a

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Speaker 1: person I know or I work with at some point

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Speaker 1: in an orchard, given that I also work in the

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Speaker 1: orchard for several seasons. The first season that I went there,

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Speaker 1: the first thing that I got to pick was asparagus.

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Speaker 3: We will start like at twelve in the morning.

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Speaker 1: We had lamps on our baseball hats. I'm lucky I

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Speaker 1: didn't cut any in my fingers. Could we use a

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Speaker 1: sharp tool to cut the sparagras?

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Speaker 3: Even me? Because they grew on the ground. We had

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Speaker 3: to be bend over all day.

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Speaker 1: The first day that I arrived to the sparagus circle,

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Speaker 1: I haven't seen my family member for a while, and

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Speaker 1: friends from my hometown where they and I feel weird,

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Speaker 1: like strapping a bucket around my waist and wearing all

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Speaker 1: these studies and I had, I feel weird.

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Speaker 3: What am I doing?

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Speaker 2: You know?

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Speaker 3: I remember my paycheck being like only like three hundred dollars.

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Speaker 1: At the end of the week, only three hundred dollars

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Speaker 1: for all these work. When I would come back, I

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Speaker 1: will bring all my paychecks. I'll pay my tuition. I

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Speaker 1: feel like I was not at a point where I

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Speaker 1: actually knew what I was doing with art, Like Underground

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Speaker 1: was very technical. You know, this is how you do this,

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Speaker 1: this is how you mix pain whatever. You know, this composition.

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Speaker 1: But after that, what do I what do I pay?

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Speaker 1: You know? These are portraits of farm workers. There is

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Speaker 1: four of them, one on each corner. The first one

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Speaker 1: that we have in front of us is a male

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Speaker 1: farmworker drawn with charcoal on a strawberry box. I never

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Speaker 1: decontracted the bar bo. I just drew the portrait inside

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Speaker 1: the box. The man on the portrait is wearing a hoodie,

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Speaker 1: he has a baseball hat. He's wearing a mask with

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Speaker 1: reference to the pandemic. And then I decided to add

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Speaker 1: simple If as a background, because simple If it's like

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Speaker 1: a version of gold lif.

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Speaker 3: Just thinking about my past and my Catholic.

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Speaker 1: Background, when growing up going to church and seeing all

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Speaker 1: these golden frame images of saints, and I just wanted

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Speaker 1: to elevate the worker by adding the gold leaf. I

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Speaker 1: don't know, I just thought that these people were worthy

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Speaker 1: of being admired and respected. So that's what I had

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Speaker 1: the goal lif When I was doing studies for my

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Speaker 1: painting class. I couldn't buy a lot of compasses, so

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Speaker 1: I cut a lot of pieces of cardboard. My sister

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Speaker 1: would go to cost Go get groceries, and you know,

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Speaker 1: costill give you boxes instead of bags.

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Speaker 3: I remember cutting out.

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Speaker 1: The quote unquote good part of the boxes, which was

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Speaker 1: the part where there was no label, so I would

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Speaker 1: use it to do studies.

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Speaker 3: I would do drawings. I would paint on them.

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Speaker 1: I remember I helped my brother and he sent me

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Speaker 1: to get pizzas Coast Go, I think, and that's where

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Speaker 1: I saw the box, so in London in my studio,

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Speaker 1: and then I drew a banana men on this box.

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Speaker 1: And when the semester started, I showed it to my class.

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Speaker 1: I just brought the whole box to my class, and

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Speaker 1: then they liked it no, because yes, I was talking

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Speaker 1: about the lifestyles of the.

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Speaker 3: Farm workers, how they work, what they work.

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Speaker 1: What they look like, and also I was talking in

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Speaker 1: a direct way about the ranch owners through the labels

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Speaker 1: that were presented on the boxes.

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Speaker 3: People got excited about it.

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Speaker 1: I sort of like get it, and everything clicked at

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Speaker 1: that time, and then from there I just it just

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Speaker 1: took off this series that we have here are also portraits.

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Speaker 1: They're called ghost portraits. In premaking, term ghost is the

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Speaker 1: second print of the first print. The first print will

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Speaker 1: get all the ink, and then if you get a

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Speaker 1: plate and printed again, it's going to be faded a

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Speaker 1: little because it has less ink. So that's what it's

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Speaker 1: called the ghost print. I was just thinking about how

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Speaker 1: a lot of the farm workers don't have documents, so

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Speaker 1: they are sort of like they are here, but they

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Speaker 1: are not here. We sort of see their traces because

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Speaker 1: they just peak the products that we eat. So I

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Speaker 1: was playing the idea of them being ghosts. I think

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Speaker 1: I was exploring more the idea of the masked men. Culturally,

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Speaker 1: I guess we also tend to think that a mask

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Speaker 1: man with a hoodie it's something that we should be

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Speaker 1: afraid of. I think of movies, you know, like where

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Speaker 1: people are hooded or with a mask, and it's usually

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Speaker 1: the bad guy.

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Speaker 3: You know.

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Speaker 1: So I was playing with the idea of the farm

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Speaker 1: workers are not the ones that we should be afraid of,

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Speaker 1: but they are the ones quite afraid of the weather conditions,

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Speaker 1: of the pesticides that they encountered in the orchards.

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Speaker 3: That's why they cover themselves with masks, bandanas.

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Speaker 1: Shades, hoodies, and baseball hats. I remember where I worked.

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Speaker 1: It's a little bit elevated, and you can see the

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Speaker 1: fumes like clouds around the orchards. These orchards are all

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Speaker 1: around this park, and they get to be sprayed, and

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Speaker 1: the kids get to play in the park sort of

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Speaker 1: like at the same time, and people get.

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Speaker 3: To smell all the fumes.

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Speaker 1: So I just wanted to represent that to sort of

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Speaker 1: like I could have an.

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Speaker 3: Excuse to actually say it.

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Speaker 1: When I first started doing this kind of work, I

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Speaker 1: think I was really not aware of the impact that

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Speaker 1: are having communities. And to me, it was more about,

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Speaker 1: like I said, I wanted to learn how to draw

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Speaker 1: and how to paint. I wanted to tell me whether

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Speaker 1: my figures are proportionate, or like, is this color or

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Speaker 1: not mixed right? You know, those things that I was

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Speaker 1: eager to hear about. And just by doing portraits of

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Speaker 1: these individuals, people would start up these conversations, you know,

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Speaker 1: how's my experience in the field, so what's a payment

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Speaker 1: and things like that, you know, and sort of like

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Speaker 1: always ended up being a political conversation around the work,

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Speaker 1: which I learned to embrace and over time I realized

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Speaker 1: that what I was doing is giving a voice to

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Speaker 1: the community it cannot be heard. After I graduated, I

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Speaker 1: was like, this is going to be my purpose. I

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Speaker 1: M going to bring all these stories to as many people.

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Speaker 3: As I can.

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Speaker 1: Were standing in front of another drawing, which is sort

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Speaker 1: of like the last piece in the exhibition. It's a

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Speaker 1: drawing on produced cardboard boxes which is about twenty three

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Speaker 1: feet long by about seven feet high, and in general,

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Speaker 1: I wanted to also show the contribution of the farm

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Speaker 1: workers within the economy, and that's why I choose some

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Speaker 1: of the patterns from the dollar bill that I represented

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Speaker 1: with simple lif The central figure is a female farm worker.

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Speaker 1: I actually met this farm worker up in Santa Maria.

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Speaker 3: It's a small town.

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Speaker 1: It's farming communities around it, and we met with organizers

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Speaker 1: there who help Indigenous people who work in the fields.

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Speaker 1: I just thought that it was important for me to

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Speaker 1: depict the Indigenous women given the history of colonization. Sometimes

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Speaker 1: there is these notions that Indigenous people don't exist anymore.

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Speaker 1: I just like these images because it's looking at the

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Speaker 1: viewer and I know that we're in a different setting,

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Speaker 1: like we're at a museum and an institution. But I

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Speaker 1: do hope that these images go to the farm workers.

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Speaker 3: I wanted to feel pride, you know. I wanted to

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Speaker 3: feel like what they do is important.

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Speaker 1: I think it's also important not only for other audiences

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Speaker 1: to learn about these stories and to learn where our

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Speaker 1: food comes from, but it's also for the farm workers

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Speaker 1: to see themselves in art, to have the feel of identity,

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Speaker 1: of community, of belonging. A lot of the people are

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Speaker 1: connected to the subject matter, you know, and they send

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Speaker 1: me matches of like how my work brings them back

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Speaker 1: memories when they were a kid. They say like, oh,

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Speaker 1: I remember my grandparents work in the field, So tell

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Speaker 1: me these stories.

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Speaker 3: And it's a like rewarding to.

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Speaker 1: Have some kind of connection now and to find that

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Speaker 1: acknowledgment for this group of people who work in the fields.

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Speaker 1: When I first decided to go to our school, it

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Speaker 1: was because I wanted to learn how to draw and

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Speaker 1: how to paint.

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Speaker 3: That's it. I think.

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Speaker 1: I imagine myself in a corner of a room somewhere

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Speaker 1: in the woods, you know, just like drawing, just enjoying.

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Speaker 1: And I didn't think I was going to be what

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Speaker 1: I am I right now. In fact, one of my ideas

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Speaker 1: was like, as long as I get my college degree,

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Speaker 1: I'm an a fly to do a hakka and just

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Speaker 1: paint there. But I think at the circumstances led me

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Speaker 1: to a different road. I'm not only just painting because

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Speaker 1: I love to paint or draw, but also I'm using

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Speaker 1: that platform to give voice to a community that might

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Speaker 1: not have the voice.

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Speaker 3: So that makes me feel like.

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Speaker 1: All the sacrifices that I think to go to grad

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Speaker 1: school to do what I do was worth it.

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Speaker 2: The Narciso Martinez exhibit, Rethinking Essential, is on display at

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Speaker 2: the Museum of Latin American Art in Long Beach, California,

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Speaker 2: until November thirtieth, twenty twenty two. You can also catch

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Speaker 2: some of his work at the Smithsonian's National Portrait Gallery.

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Speaker 3: In Washington, DC.

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Speaker 2: This episode was produced by Julia Rocha and edited by

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Speaker 2: Daisy Contreras. It was mixed by J. J. Rubin. The

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Speaker 2: Latino USA team includes Andrea Lopez Grussado, Marta Martinez, Mike Sargent,

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Speaker 2: Julieta Martinelli, Victoria Estrada, Rinaldo, Leanos Junior, Alejandra Salasad, and

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Speaker 2: Patricia Sulbaran, with help from Traul Prees. Our editorial director

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Speaker 2: is Fernande Santos. Our Director of Engineering is Stephanie Lebau.

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Speaker 2: Our senior engineer is Julia Caruso. Our associate engineer is

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Speaker 2: Gabrielle Biez. Our marketing manager is Luis Luna. Our New

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Speaker 2: York Women's Foundation Fellow is Elizabeth Loenthal Torres. Our theme

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Speaker 2: music was composed by Zeena Rubinos. I'm your host and

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Speaker 2: executive producer Marghino Kosa. Join us again on our next episode,

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Speaker 2: and in the meantime, look for us on your social

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Speaker 2: media and remember no dee yes Chao.

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Speaker 4: Latino USA is made possible in part by New York

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Speaker 4: Women's Foundation. The New York Women's Foundation funding women leaders

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Speaker 4: that build solutions in their communities and celebrating thirty years

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Speaker 4: of radical generosity, California Endowment building a strong state by

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Speaker 4: improving the health of all Californians, and the Heising Simons

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Speaker 4: Foundation unlocking knowledge, opportunity and possibilities more at hsfoundation dot org.

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Speaker 3: Oh I touched the art.

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Speaker 4: Oh, Well, you're the one person who's alowed to