José Villalobos’s multimedia exhibition, groomed, conveys the effects of machismo within Norteño culture. Through sculpture and performance, Villalobos displays a nuanced and proud connection to his heritage, withstanding the historic and violent undercurrents of homophobia that exist within it.
The central piece in the room is a large, motorized horse walker equipped with a bit and harness that Villalobos wears during his hour long endurance performance, Producto de la Máquina. Blood on the metal mouthpiece from the artist’s resistance to being steered suggests the emotional violence of cultural and societal constructs that can compress identity. The walker’s circular motion is repetitive by design, speaking to an inability to advance forward.
The floor of the exhibit is covered in soil, binding the space to the earth, and transforming it into a ranch-like environment with livestock tools and other processes. The smell of dirt and hay activates memories of such places. Each step leaves an impression, marking the visitor’s presence. Videos of self-inflicted endurance acts by Villalobos involving ranch instruments play on the walls. Here, he disarms toxic masculinity by enduring it for an audience to witness.
A circular mirror hangs on the South wall, and suspended in the center is a metallic horse bit. When standing in front of the mirror, visitors are inserted into Villalobos’s narrative, creating a space of empathy or complicity. As friend or silent witness, the audience’s own response will determine where they fit.
Circular motifs continue to repeat throughout groomed, with images of a shedding comb, the mirror, and the walker. The symbol represents toxic cycles and the detrimental outcomes of relentless, circular thought. Cowhides displayed on the walls are branded with homophobic text and confront the derogatory words and perceptions of homophobia by reclaiming them.
This exhibit is a continuation of works Villalobos has created in the past, which revolve around masculinity and border culture. Within groomed, there is a nuanced subversion present. Here, the artist is embracing his heritage as much as he is resisting it, allowing history to shape his identity while recognizing its complexity and power. The concept of suffering is a human experience that Villalobos believes all visitors can connect with. Through performance and sculpture, he articulates the violence of homophobia and speaks to the resilience of the human spirit.
–Ada Smith Genitempo, Residencies and Exhibitions Manager
Our Texas-based artist residency has been generously funded by the Mid-America Arts Alliance, the National Endowment for the Arts, and the state arts agencies of Arkansas, Kansas, Missouri, Nebraska, Oklahoma, and Texas
