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Ariel Luna Anais

American, b.1991


Ariel Luna Anais is a multidisciplinary artist living and working in their hometown of San Antonio, TX. They earned a B.A. in New Media and Painting from the University of Southern California, and pursued post-baccalaureate studies in Art History at the University of Texas San Antonio. With a professional background in art conservation and fabrication, Anais has dedicated the past decade to the restoration of public art monuments and the creation of new sites of public memory. Among their notable projects are the restoration of Judy Baca's murals, including "Hitting the Wall," "The Great Wall of Los Angeles," and "The History of Highland Park." They have also contributed to the fabrication and photographic documentation of Margarita Cabrera's "Árbol de la Vida" at the Mission Espada UNESCO World Heritage Site. Recently, Anais was selected to work for a period of 5 months, under the guidance of the Chinati Foundation's Director of Conservation, caring for the contemporary art collection of this unique institution in Marfa, TX. Anais's artwork has been showcased in exhibitions in Los Angeles, New York City, as well as local institutions such as the Witte Museum, Guadalupe Cultural Arts Center, and Contemporary at Blue Star.

Ariel Luna Anais explores the realms of memory, both personal and collective, through their diverse range of multimedia artwork. In their 2-D works, Anais captures fleeting moments akin to photographic snapshots, imbued with a delicate blend of hope and intermittent despair, unearthing unsung memories. Their lifelong fascination with dualities, stemming from their experience as a queer and multicultural individual existing between worlds, permeates their oeuvre. While reminiscent of film stills, their textured works transcend initial impressions, offering a contemplative and aestheticized experience. Anais crafts expectant depictions of liminal spaces, often adorned with lyrical titles that beckon the viewer to seek closure by bridging fragments of mass culture with fragments of their own private reality.

Anais's video works share a similar sentimentality. Approaching the zeitgeist with a satirical lens, their films delve into the insidious influence of media on society and challenge the notion of truth. Through humor and camp, Anais invites the audience to draw parallels between the past and the present, their personal traumas and our cultural wounds. These video pieces serve as a vehicle for introspection, encouraging critical reflection on the media landscape and its impact on shaping our perceptions.


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