.

. Because there's a backlog.

He is older, a full.

. .

. And as effective."

. . I think I showed it maybe a couple of times, but I never got rid of it. JQ: Of course, of course. .

CM: Who relate to it as art. I mean, who would think of painting some pachuco? I think I spent like fourteen months over there to qualify for that, and so I came home directly from Korea. . surrounded by even smaller communities.

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. In regards to what is useful to one as an artist, you'd be surprised at the things that I look at. Like I have said, I have had to learn many things because I'm not a natural, and drawing was not my strong suit at that time, and I would just start painting and edit everything on the canvas itself-no preparative drawings. .

In the early eighties, it must have been. CM: Those early works-the hard-edge, abstract, color-field paintings-they varied. CM: I think it relates, because I think one thing I mentioned in those articles-one thing, or in one of them, anyway-was something about validation, and that if the art world or the academic art world does not want to validate what we're doing maybe we don't need that validation. . . I was born on June 4, 1944, and I spent all of my childhood there, and so, as you know, Laredo is on the border with Mexico, and so I had a lot of visits from my family in Mexico, and Spanish was my first language. Yeah, because you need to refresh yourself. No, I don't recall of ever having any activities involving the visual arts.

. JQ: It's a multi-media approach, Conceptual Art.

The reason that I got interested is because in Kathy Vargas's exchanges with Frances Colpitt when this was happening, when the show was in the planning stages and Kathy Vargas got wind of it. [laughter] It was very funny. Some of them have been able to transcend all of that with their incredible talent. JQ: And that made a real impression on me.

But [when-Ed.] CM: . We would have meetings and stuff and then discuss all kinds of things and strategies for organizing and then things like that. . . . .

Never mind that we have different abilities. A perfectly clear photograph taken by a San Antonio photographer. . The title was Javier H., but it was meant to be Javier Herrera. And I think that that's where that . CM: The first painted version is Sandra Cisneros' brother. Just going by what was there, he was very accurate in his interpretation, and he said, very specifically about the tatoo, the nice girl, he said, very authoritatively, he said, "Interestingly.

My own favorite drawing media is charcoal on newsprint, which everybody says, "No! Because, as time goes by, what happens is that I do something, and then as time goes by I look at it again and all of a sudden something catches my eye about it that I'm not satisfied with. Forever, I would say.

Well, one of my very first sources was the high school yearbook. I became conscious of, "Well, what's this thing about museum shows?" . you were really impressed with his technique.

even the title. CM: And I think I added a little heart on the side [with] that.

CM: Yeah, oh certainly, yeah. But, notwithstanding, some very good artists participated in that who were probably. [chuckles] It worked for me. . CM: The reason why. Like you said, there was a series of alleged appearances, and it was brought to the attention of the church and all of that. .

. . You know, everything becomes more formalized as you work.

. There's maybe a couple of pieces in the Mestizo series that are not symmetrical.

. . .

. CM: They couldn't care less about the background. CM: Probably . . His name was Baltazar López.

CM: I'm pretty sure, yeah, because I remember that you were doing a lot of work on your book, Mexican American Artists, and I remember sitting in.

.

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