Breaking the mold

“Idle hands are the devil’s workshop” is a maxim a group of film photographers defied in the “Silver Jell-O” art show–a one-night-only exhibition that showed images are not merely taken; they are constructed by the hands of the artist.

The exhibition took place Oct. 25 at The Comminos Center for the Arts, located at 214 N. A St. in Harlingen.

“When you look at the history of art, [photography] predominantly was used to replace the idea of a painting or for portraiture … and it’s been used primarily for journalistic or documentation purposes,” said Sean Hughes, the show’s curator and a studio art senior. 

From the earliest days of photography, art historians noted there was a persistent desire to establish it as a legitimate artistic medium.

Henry Peach Robinson was among the first to elevate photography as an art form, a pursuit still shared today by contemporary artists. He combined images, such as in his infamous picture “Fading Away,” to showcase the artist’s hand as he described in his influential book “Pictorial Effect in Photography” published in 1869. 

“The question I’ve been posing to myself and my fellow [peers] is, ‘What elevates a photograph to fine art?’” Hughes said.  

Framing a photo and hanging it on a wall, while a “Duchampian” move, is not enough, according to Hughes.

“There’s got to be an element to it,” Hughes said. “… You have to create a sense of style and be able to understand the [photo] processes that you’re doing.”

He said he also wanted to showcase the diverse range of photographic techniques and styles practiced by UTRGV art students and highlight the innovative and experimental nature of these artistic approaches. 

Hughes said the exhibition was developed as a low-pressure experience for students to have an opportunity to mingle and talk about their art. 

The focus is on the raw expression and the joy of creating, bypassing the need for formal artist statements or complex naming conventions, according to Hughes.  

“A lot of these frames are thrift store finds,” he said. “… And then, I’ve just basically put masking tape [on the wall] and with a Sharpie they put their names.” 

Rachel Comminos, co-director and co-manager of Comminos Studio, expressed enthusiasm for the “Silver Jell-O” art show. She noted the rarity of such focused exhibitions in the past, which made this event particularly special.

“The mission [of Comminos Studio] is to empower the community,” Comminos said. “We don’t take a percentage or cut off the artist’s earnings from their sales. We really want to promote the artists themselves and give students a taste of the ‘gallery life.’”

Comminos Studio is housed in a historic building: the former DeMint Hotel. The building, with its rich history, has served various purposes over the decades, including City Hall, doctor’s offices and antique stores, according to Comminos.

Now, the building has become a hub for artists, providing a space to showcase their work and connect with the community.

“We’ve really become part of the community,” Comminos said. “We’ve shown people through our time here and our efforts that we’re worthy of being part of the community, and we want to empower these artists.”

America Bernal, a studio art senior exhibiting her work at the show, said her photographs reflect the impact of human development on natural spaces and the importance of preserving these areas.

“It’s kind of melancholic in a way, because we have certain parts in the [Rio Grande] Valley where it’s very rustic,” Bernal said. “And then you, kind of, just look around, and then there’s buildings being built, [and] more buildings or old buildings that we don’t really take care of.”

Ivan Davila, an exhibiting artist and UTRGV laboratory manager for the Physics and Astronomy department, explores themes of abandonment and fading memories in his photography.

“There’s a lot of new things going up, but there’s a lot of really nice things that are just left behind and forgotten,” Davila said. “And I feel that it’s just beautiful to take pictures of them and then remember them, because we’re at that point where the RGV is not going to be the way we remember it.”

The Rider asked Hughes what the future of photography is. 

“I think, like anything else, it’s heading in multiple directions,” he replied. 

Hughes said because of the evolving nature of art, what was considered contemporary 20 years ago may not fit the definition today. 

This uncertainty creates a dynamic and exciting landscape for artists.

“I like film,” Hughes said. “… I like using the darkroom and using the enlarger because, basically, I’m painting with light … using techniques like burning and dodging. [And] rather than using tools, I use my hands. So, I’m letting the light cascade through my fingers onto the paper and controlling that, and it’s in a rhythm. It’s very almost, you know, like a musical rhythm.”