018: Alyanna M. Barrera
Alyanna M. Barrera is a CHamoru student pursuing Fine Arts at the University of Guam.
Alyanna M. Barrera
As an artist, she channels her creative energy into visual arts as a means of processing and deconstructing complex experiences that resist verbal expression. Through her work, she seeks catharsis and self-validation, using art as a manifestation of introspection and life's reflections. Although drawing initially captivated her, Alyanna has ventured into various mediums like ceramics, printmaking, and fabric work, reveling in the physicality and loss of control inherent in these mediums.
Alyanna M. Barrera
As a Micronesian Pacific Islander, Alyanna draws inspiration from her cultural heritage and personal experiences, tackling contemporary themes such as familial relationships, Catholic guilt, loneliness, and women's experiences. Rejecting notions of tired themes, she validates her own voice and perspective, hoping to uplift other Micronesian voices through her art. Her process often begins with intense emotional experiences or situations, which she translates into visual representations after extensive reflection and association.
Alyanna M. Barrera
Alyanna's artistic signature includes incorporating graphic imagery from a feminine perspective, often exploring themes of gore and emotional violence as metaphors for human experiences. Her work is deeply introspective and vulnerable, evolving from earlier expressions of societal anger to more personal reflections. Her journey as an artist solidified during the COVID-19 lockdown, where increased engagement with art led to a profound realization of her passion and potential.
Alyanna M. Barrera
Through her art, Alyanna seeks to expand understanding and connection, playing a vital role in furthering societal dialogue and expression.
To read Alyanna’s full interview, continue below. Also, check her out on Instagram. Thanks again for your time!
Describe what you do.
I’m a second year Fine Arts major at the University of Guam. I use the visual arts to process and deconstruct experiences that I don’t feel entirely comfortable sharing verbal manner. In doing so, I seek to achieve catharsis or at least some level of self-validation.
How would you define art.
I consider art to be a manifestation of someone’s reflections on themselves or some aspect of life.
Why did you choose your art form?
Drawing was the form I practiced the most consistently, which eventually led to a focus on visual arts. I’m still in the middle of experimenting with different mediums, but lately I’ve been interested in ceramics, printmaking, and fabric work. I’ve been enjoying the physicality and the control I lose when working in these mediums.
How has your ethnicity/race affected the type of art you make?
As a Micronesian Pacific Islander, there is very little to no good representation of us in popular media. As a CHamoru, our culture and history, even beyond colonialism, has created a unique set of circumstances that fuel the perspective with which I approach my work. My work revolves around popular contemporary themes such as mommy issues, catholic guilt, profound loneliness, and women’s experiences. I’ve read statements and think pieces proclaiming that these themes are tired, and no longer worth dissecting. I choose to ignore this sentiment.
I validate my own voice, my perspective, my work, and my existence. I believe I contribute something, whether it’s on a micro or macro-level scale. In doing so, I hope it uplifts and inspires other Micronesian voices.
How did you get into art?
I’ve had a fascination with/appreciation for art for as long as I can remember. I started with drawing, then painting, and when I entered UOG I was introduced to entirely new mediums. I also became involved with the local art community, as I was surrounded by people who had similar interests and goals, and I was alerted to more opportunities.
Who do you idolize?
I try not to idolize people, but I greatly admire the work of locally based artists. Specifically Yumiko Furukawa, Irena Keckes, Hunter Orland, Eunkyung Jeon, Chie Numano, Madison Orland, and Miki Made.
Outside of Guam includes Sonia Jia, Anna Ting Möller, Zhang Mingxuan, Midori Yaita, Sasha Gordon, and Gisela McDaniel.
Where do you get your inspiration?
I am inspired mainly by my experiences, particularly negative ones, and music. I like making playlists with songs that inspire my work. I also like to observe my peers’ artistic process.
What do you do when you're stuck on an artwork or lacking motivation or inspiration?
I start with a break during which I’ll chit chat, eat, read, watch something, or whatnot. I can try to force myself back into the zone but that works for 30 minutes at best, so I let myself take the rest of the day off. Usually I bounce back the next day, but if not… I’ll let it rot. Still working on that.
What do you like incorporating most into your art?
Blood. I’ve always been drawn to gore visually, I didn’t realize how many of my works before college featured it, but I hate exploitative media. Instead, I use gore separate from the body to represent the violent experience of emotions.
Recently I learned that the Chamorro word for daughter (håga) and blood (håga’) are nearly identical, which I found amusing, because lately my work has been about the mother-daughter relationships in my family. This kind of alignment has happened several times before, and I've taken it to be a show of support from nature and the supernatural.
What is something that you add to your art as like your signature?
I like to add graphic imagery with a feminine perspective.
Take us through your process for making art.
I’m a chronic overthinker and I feel things very intensely, so at any given moment there’s something plaguing my mind which kick-starts my artistic process. If I think about a situation often enough, my brain usually ends up conjuring a visual representation of my feelings that I decide to materialize. When that hasn’t happened, my process begins with writing to help me get a better grasp of my thoughts and emotions, as well as develop them further. Sometimes it comes out as poetry, but most of the time it’s nearly nonsensical prose. I then play a game of association between what I’ve said and everything I’ve ever perceived, culminating in a sketch that I believe embodies what I wanted to convey.
After that comes research, and my approach changes based on my concept. For one that’s completely personal, my research is mainly through visual information, looking for reference images or creating my own. I also like having conversations with others to gain different perspectives and technical advice. When it concerns societal issues, I start off with heavy reading and discussing what I’ve learned. This step has the potential to drastically change my sketch, which it has before. Then I proceed with my visual research.
Once I have a sketch I feel like I can jump off of, I can begin creating the work. My methodology is dependent on the medium, but the process itself can either be all-consuming or highly sporadic. It involves a lot of sighing, complaining, head tilting, and clawing at the air in the middle of the night, but I always have a playlist, show, podcast, or friend keeping me company.
What do you struggle with the most when making art?
I have a level of perfectionism that incapacitates me and makes it hard to feel gratification from my work.
What role do artists have in society?
I think artists play many roles depending on the practitioner. They can be historians, cultural preservationists, or revolutionists, etc. To choose one, I’d say they further our understanding of the world.
What characteristics do you think all artists share?
An intense desire to create something, anything.
What’s your favorite place in Guam?
I enjoy anywhere that has a moving body of water and a comfortable area to relax, especially when it’s not crowded, but Isla Center for the Arts is also a strong contender.
How has your artwork evolved over time?
I think my earlier work was rooted in anger with society and its institutions. Lately it’s become more introspective and vulnerable. I also find myself moving further away from 2D mediums. If I work in 2D it’s usually for a piece that will end as mixed media.
Why did you choose to become an artist?
During the COVID-19 lockdown I started drawing and painting a lot more. By the end of it, I realized there wasn’t anything else I enjoyed as much as art. My decision was solidified during my break from college. I was in Dallas for a work trip and had the opportunity to visit the Dallas Museum of Art. It was completely life changing to see famous and historical works in person, before that my exposure to art was primarily online. Seeing The Abduction of Europa (1750) by Jean-Baptiste Marie Pierre made me realize how much I actually loved, art and its tangibility made my dream of being an artist professionally feel possible. After that, there wasn’t anything else I could imagine myself being.
Is your art geared towards a specific audience?
No.
Do you have any tips for aspiring artists?
Pursue every line of interest, connect with the local art community, submit your work to open calls (even when you think it’s bad), and be true to yourself. You have to surmount the fear and anxiety of being individual and potentially looking foolish.
