Biography

San Jose artist Erin Goodwin-Guerrero has produced a strong body of work that refers to her interests in popular culture and traditional Mexican religious symbolism. By blending photographic silk-screened and hand-painted images, Goodwin-Guerrero explores the complexities of cultural assimilation and formally combines elements of art history, contemporary media, and her own hand. Her paintings are ripe with tension and emotion, and often personify the struggle between old and new as individuals and cultures pursue social and economic betterment.
Born in 1941 in Seattle, Washington, Goodwin-Guerrero grew up in a conservative, Protestant environment. She attended San Jose State College (now University), earning a B.A. in 1966, an M.A. six years later, and an M.F.A. in 1990. Struggling to find credibility in contemporary religious practices, Goodwin-Guerrero looked toward ancient civilizations for inspiration, turning first to Confucianism and the Tao, and later to Mexico. In 1972, Goodwin-Guerrero traveled to the Yucatan peninsula, where she visited the ruins of the Mayan, Aztec, Zapotec, and Toltec people. She was fascinated with the centuries-old traditions of Mexico and its rich spiritual history. Inspired by her encounters with a culture so different from her own, Goodwin-Guerrero embraced Mexican iconography and themes and began incorporating religious and ritual objects into her work. In the early 1980s her interests evolved from the mystical realm to more contemporary concerns. Intrigued by the myriad ways in which the beliefs and traditions of one culture could impact those of another, Goodwin-Guerrero began to explore the implications of cultural assimilation on contemporary society. Much of Goodwin-Guerrero’s work from the past two decades addresses her growing concern for the social and economic hardships of Latinos, particularly those seeking a better life in the United States.

Since the late 1980s Goodwin-Guerrero has increasingly used the prize fighter as a symbol for the difficulties of cultural assimilation, both forced and voluntary. For her, the image of the boxer is intended to personify the will of Latinos as they fight to survive in the economic and sociopolitical arena of the United States. Centered on the theme of boxing and its role as a ticket to a better life for many young men who would otherwise be locked in a cycle of poverty, Pistolitas de San Jose (1990) refers to lightweight boxing champion Lupe Gutierrez, nicknamed “Pistolitas.” A local hero who trained at San Jose’s Garden City Gym in the 1980s, Pistolitas was repeatedly warned by his coaches and doctors to stop fighting, for with each fight he was getting dangerously close to cerebral injury. His refusal to stop boxing ultimately led to irreparable brain damage. In Pistolitas de San Jose, Goodwin-Guerrero elevates the boxer to hero status by placing his image within the framework of a cross. She transforms Pistolitas into a modern-day martyr, implying that he was “crucified” by boxing culture. The dynamic juxtaposition of mechanical and handmade images together with the deliberate assembly of multiple canvases allude to the ongoing balancing act that many Latinos face as they attempt to reconcile their cultural heritage with the demands of contemporary life. The face of legendary boxing promoter Don King appears on the arms of the cross in both positive and negative, signifying his “paternal” role as well as his corrupt and dictatorial position in boxing promotion throughout the 1980s and 1990s. The red paint splattered across the image suggests blood, symbolizing the violence of prize fighting and the adversity faced by many Latinos living in America. Thus Pistolitas, like so many others, has sacrificed everything to achieve a dream and to establish firm footing in a complex and ever-changing world. —L.W.

(SJMA Selections publication, 2004)


http://eringoodwinguerrero.com/ewAboutMe.html

Erin Goodwin-Guerrero received her B.A., M.A., and M.F.A. from San Jose State University. Since 1986, she has taught at SJSU. She has been featured in solo exhibitions at Frederick Spratt Gallery in San Jose, San Jose Institute of Contemporary Art, and the San Jose Museum of Art. This work would join a photographic print, Untitled from the Magician Series, n.d., already in the Museum’s collection. (SJMA Collections Committee, 2000)

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