The De la Torre Brothers: Glassblowing a Reflection of a World in Crisis
The wallpapered room is filled with antiques and a menagerie of blinged-out taxidermy. A 24-foot-long banquet table has been laid out, but the dinner guests seem to have disappeared, leaving their coats behind. On the table: nucleated eyeballs nestling in golden spoons, miniature torsos propped up on cake stands, and baby Kewpie dolls trapped in red goo, like candied desserts. A glass “Capitalist Pig,” one of several profane centerpieces, grins as it defecates gold coins. This is “Le Point de Bascule” (“The Tipping Point”), an installation by the de la Torre brothers that, with its dazzling and repulsive aesthetic, critiques contemporary society’s obsession with excess. The brothers, Einar and Jamex, are known for their richly detailed, maximalist installations that blend high and low art, incorporating everything from blown glass and mass-produced curios to resin castings and photocollage. Through their works, they challenge perceptions of beauty and good taste, forcing viewers to confront uncomfortable truths about consumption, greed, and the environmental crisis.
Key Takeaways:
- Unflinching Critique: The de la Torre brothers use their art as a mirror to contemporary society, highlighting the excess, consumerism, and greed that are driving us towards a tipping point.
- Multifaceted Medium: Their work is a kaleidoscope of materials and styles, seamlessly blending blown glass, found objects, and lenticular printing to create a richly textured, multi-layered experience.
- Global Influence: The de la Torre brothers have gained international recognition for their work, inspiring artists worldwide and making significant contributions to the glassblowing medium.
- From the Ashes: Despite facing adversity, including the tragic vandalism of their studio, the de la Torre brothers have persevered, continuing to create thought-provoking and visually stunning works of art.
- Beyond the Border: Their life and work are deeply intertwined with the cultural dynamics of both Mexico and the United States, offering a unique perspective on the complexities of life on the border.
Born in Guadalajara, Mexico, the de la Torre brothers’ early life was marked by the complex relationship they had with their father, a gifted but troubled architect. The family, including the brothers’ mother, a skilled translator, moved to Southern California when they were young. This cultural shift, while initially jarring, instilled in them a love for contrasting perspectives and a sense of cultural fluidity. The brothers studied glassblowing at California State University, Long Beach, where they were deeply influenced by the mentor, Therman Statom, who taught them not only the technical aspects of the craft but also the business side of being an artist. This period fostered their passion for collaboration and experimentation, which has remained a core element of their artistic practice. They developed an agnostic view towards labels and artistic categorization, refusing to be confined by traditional definitions.
Their first solo gallery show was in 1994, and they have since become leading voices in the contemporary art world. Their art often critiques modern society’s excesses, particularly in the context of consumption and the environmental crisis. One of their most recent installations, “Le Point de Bascule,” is a prime example of this. This installation is a provocative spectacle of opulence, but also a poignant indictment of the dangers of unchecked consumption and materialism. The de la Torre brothers seem to say, “We are repulsed by this opulence, yet we can’t help but be drawn to its allure, a testament to the seductive nature of excess.”
The brothers have also made significant strides in utilizing lenticular printing to create works that are both visually stunning and conceptually powerful. This technique, which utilizes layers of images to create the illusion of depth and movement, is often seen as gimmicky or simplistic. But the de la Torre brothers use it to add another dimension to their critique of society, creating works that are at once playful and disturbing. In their lenticular work “Coatzilla,” the Aztec earth mother goddess, Coatlicue, is depicted as a two-headed, Godzilla-like creature, reflecting anthropogenic destruction of the planet, with the caption, “Grumpy, because humanity has ravaged the world she made.”
The brothers’ dedication to their craft is undeniable, and they are known for their tireless work ethic. Despite challenges like the tragic vandalism of their studio in 1995, they have persevered, continuing to create thought-provoking and visually stunning works. A testament to their resilience, they have maintained both a studio in Baja California, Mexico, and a satellite studio in San Diego’s Barrio Logan neighborhood. They use these locations as hubs to connect with local communities and collaborate with fellow artists, remaining active participants in the vibrant art scene on both sides of the U.S.-Mexico border.
The de la Torre brothers are unique in their ability to seamlessly blend artistic disciplines and cultural influences. Their work is a reflection of their lived experiences, their Mexican heritage, and their fascination with the intricacies of the contemporary world. They are pushing the boundaries of the glassblowing art form by incorporating a wide array of materials and techniques, forcing viewers to confront their own assumptions about art and beauty. By combining their unique creative vision with their critical lens of social justice and environmental awareness, the de la Torre brothers have made a lasting impact on contemporary art. They continue to challenge conventions, inspire a new generation of artists, and create thought-provoking work that serves as a reflection of our world, in all its complexities, both beautiful and ugly.
