Sandy Rodriguez was born in 1975 in National City, California. She is a Los Angeles based artist who grew up on the US-Mexico border, in Tijuana, San Diego, and Los Angeles. She has exhibited her works with numerous museums and galleries, including the Denver Art Museum, The Huntington Library, Art Museum and Botanical Garden, the Amon Carter Museum of American Art, Los Angeles County Museum of Art, Museum of Contemporary Art San Diego, MOCA Busan Busan Bienniale, Crystal Bridges Museum of American Art, The Cheech Marin Center for Chicano Art, Art+Practice, and Self Help Graphics. Her work focuses on the ongoing cycles of violence on communities of color by blending historical and recent events in the Los Angeles area and along south-west US-Mexico border. A transitional moment for Rodriguez happened in 2014 on a visit to Oaxaca, a southern Mexican Region, where she first procured a red pigment called cochineal, coming from the pre-Columbian era. Prior to this, Rodriguez had painted exclusively in modern paint. The encounter with cochineal happened at the same time she was painting fire paintings and the protests began in Ayotzinapa Mexico in response to forty-three missing college students, which included setting fire to palacio nacional and an Enrique Peña Nieto effigy pinata. The alignment of content, form, and the materials magnified how material can signal cultural identity, history, and politics. A goal of her work is to disrupt dominant narratives and interrogate systems that are ongoing expressions of colonial violence witnessed regularly, including Customs Border Enforcement, Police, and Climate Change.
Education
Rodriguez earned her Bachelor in Fine Arts from the California Institute of Arts.
Codex Rodriguez-Mondragón (2017 - on-going) The artist explains:
"The Codex Rodríguez–Mondragón (2017- ) is a collection of maps and specimen paintings about the ongoing cycles of violence on communities of color by blending historical and recent events. It incorporates hand-processed earth, plant, and insect based watercolor onto the sacred (and once outlawed) amate paper, reclaiming and reaffirming the Indigenous artistic traditions of the Americas. The use of plant materials is significant not only for situating the work within specific floristic provinces but also for their medicinal and healing properties. This makes my maps not simply a representation of the place but objects that serve as an active embodiment of their constituent parts. In my work, a multitude of records, documents, maps and natural materials serve to inform my interpretation of space where various histories are combined, juxtaposed, recovered, and re-envisioned, painted as a codex, a macro and micro view of humanity in relationship with land, time, and power. One of my personal goals is to disrupt western European dominant narratives and challenge audiences with paintings that interrogate legacies of colonial aggression in our daily lives.
My investigation into Indigenous color use in the Americas led me to research the 16th-century Florentine Codex and the history of image- and color-making in colonial Mexico. The Florentine Codex is a twelve-volume encyclopedia compiled by Fray Bernadino de Sahagun and several Indigenous writers and artists, known in Nahuatl as tlacuilos. Working during the middle of the 16th century, they created a compendium of “the things of New Spain,” with parallel Spanish and Nahuatl texts describing deities, plants, animals, and the history of the Spanish invasion in 1519-21. Over 2,000 images accompany these texts, providing a third layer of information.
It is important to mention that the Florentine Codex was created under a colonial regime at a time when their world was changing radically and, in part, under quarantine during the time of a pandemic that wiped out 90 percent of the population."
Museum exhibitions
2023
Sandy Rodriguez - Unfolding Histories: 200 Years of Resistance [solo exhibition], AD&A Museum, UC-Santa Barbara, CA
Visualizing Place — Maps from The Bancroft Library, The Bancroft Library Gallery, University of California-Berkeley, CA
Day Jobs, Blanton Museum of Art, University of Texas-Austin, TX
To Translate the Unfathomable [solo exhibition], Rutgers Center for Women in the Arts and Humanities, NJ
Borderlands, pt. 2, The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA
2022
Traitor, Survivor, Icon: The Legacy of La Malinche and the Conquest of Mexico, San Antonio Museum of Art, San Antonio, TX
Contemporary Ex-Voto: Devotion Beyond Medium, New Mexico State University, Art Museum, NM