Rubén Aguirre
We are pleased to highlight the work of Rubén Aguirre, a painter based in Chicago known for his monumental murals and intricate studio practice. Aguirre has masterfully synthesized graffiti writing, muralism, abstraction, and color theory into a captivating visual language found nationally and abroad. His aesthetic offers an intimate experience with color play and complex 2D forms that are both exhilarating and memorable.
His murals are labyrinth-like constructs that can be found painted on the surface of underused public spaces. Aguirre transforms mundane urban backdrops into energetic portals, luring viewers to dance between positive and negative space. These artistic interventions are a unique entry point to be in conversation with landscape, architecture, and point to a historical context respective to his mural site. At the heart of his practice, he invites viewers to reimagine public spaces.
“I am building a visual language with every mural that is unique to each location, and like with graffiti, it’s probably not decipherable to everyone upon viewing. But the mystery and investigation is the fun part.”
Aguirre recently debuted an artist book, LEXI CONS, which delivers an incredible breadth of completed studio works, public works, graffiti writing, and sketches. LEXI CONS is a limited artist-proof run, a wonderful way to dive deeply into his world of color & form. Aguirre’s book also includes a meaningful conversation with Brandon Johnson of Almighty & Insane Press, delving further into Aguirre’s practice.
Aguirre holds a BA from Columbia College Chicago with a concentration in Painting. He has produced several murals in the Chicago area, across the U.S., and abroad and has exhibited at the National Museum of Mexican Art, the Chicago Cultural Center, and in 2022, was awarded the Helen and Tim Meier Foundation achievement award. Art News and the Atlantic have covered his work. Aguirre's public works have been commissioned for clients such as the City of Chicago, Google, Adidas, LinkedIn, Starbucks, and others.
ARTIST Q&A
A conversation between Michelle Ruiz and Rubén Aguirre
Michelle Ruiz: When I meditate on your murals, I am always in awe of the layers, intersections, color combinations, sharp lines, and organic shapes that emerge, and I continuously identify new moments in your visual language when going back to the same piece. What is your process when embarking on a new mural, and how does your choice of shapes and color combinations fit with the mural's narrative?
Ruben Aguirre: Every mural is designed to be site-specific. So, they are really just a response to any given location. But within that response is an homage to any history there. So, any color or shape can reflect anything from architecture, to foliage, to geographical location, etc. It’s often not literal, but there are bits and pieces when recognizable imagery peeks through.
MR: It was a wonderful moment to celebrate your first solo show, “Tectonic Reflections,” at the National Museum of Mexican Art last winter that featured recent studio works. Can you highlight an artwork or series that was unveiled in this show?
RA: Tectonic Reflections was a collection of paintings that were created during the beginning of the pandemic. I spent most of my time becoming more familiar with the forest preserves surrounding Chicago. It was a different way of spending my free time, and it showed up in my paintings. I hadn't really thought of my abstraction as a form of landscape painting before that.
MR: What current projects or bodies of work are you excited about or working on? Are there any themes or subjects that you are experimenting with?
RA: With studio work, I’m still exploring the idea of landscapes. There’s still a lot of room for discovery there. It is also starting to carry over into my graffiti, which is turning out to be fun.
MR: We are excited to feature your three works titled Float/Cool Blue, Hot Sand at the Lake, and Lake Michigan House in the BPAI & Baird & Warner Community Art Collection. These works are from two different series. Can you share more about these bodies of work and what inspired them?
RA: The Float series began as studies when I was starting to let the wood grain of the panels show through in my work. There were a lot of new things happening for me with those paintings, and they are pretty foundational for where my work is now. The other two paintings are from a series exploring the idea of “home,” which gave them some architectural qualities.
MR: What advice would you give to artists with similar graffiti writing backgrounds interested in pursuing a more formal art practice?
RA: Some people enjoy the repetition that graffiti provides, myself included. A studio practice gives you a place to build on that and experiment. If you already have a foundation for graffiti, you already have a framework to build on. There are so many aspects that can be broken down and zoomed in on.
MR: Do you have any upcoming events that we should bookmark?
RA: I have some group shows coming up: August 26th, at Artist Replete, Chicago, “Economy”, September 8th, at The Redline Art Center, Denver, CO, “Vandal Futurism”, September 14th, at The Hyde Park Art Center, Chicago, “Not Just Another Pretty Face”.
MR: Do you accept commissions within your multifaceted art practice, and how can someone engage you in a project?
RA: I’m always open to commissioned work. Whether it’s a mural or a painting, it’s just a matter of having a conversation about where this work will be and who is a part of that location/experience.