A gif of the exhibition title, Ambrosia, in Hoss Sharp with various glyphs and images shuffling and replacing random letters in the word.

Luis Quintanilla

A glyph of a dove.

Twin Sign

I have been building a language of allegorical imagery spawning from trick riding cowgirls. Not only do I believe trick riding to be a high theatrical performance extending far beyond the dirt stage of a rodeo, it’s equally a contract-with-the-skin of the Code of the West. This quickly evolved into a much deeper analysis about selfhood and self adornment. The rendering of the West perpetuated by Hollywood, created a romanticized version of America, one that bore little relation to reality. The America to which the great tailor Nudie Cohn aspired and within which his designs were considered to be representative of American traditions, was a cultural construct. Nudie's style of western wear was an invented tradition. Equally, I never could’ve lived up to the likes of the mythic Shane (1953) enacted by Alan Ladd. I found myself coming back to this call-and-response cowboy prose endlessly throughout my doldrums:

“You do know why you’re here?

‘Yes. There is great confusion on earth, and the power that is has concluded the following: Perfect man has visited earth already, and his voice was heard. The voice of imperfect man must now be made manifest, and I have been selected as the most likely candidate.’

The time is June, therefore, you, a gemini, must go. To be born under twin signs twice adds duality. This duality, combined with wisdom and love is the key.”

Side by side images of front and back sides of comb bound paper chaps and comb bound belt hung against a white background.
Handwritten signature from Luis Quintanilla in pink.