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Welcome to the Lehigh Valley Arts Podcast, where we explore the local arts culture in the Lehigh Valley. We’ll be doing this through conversations with individual artists, administrators, and organizations. We’ll explore all types of mediums with the goal of enriching local culture.
Elise 0:04
Welcome to season four of the Lehigh Valley arts Podcast where we explore the local arts, culture and community in the Lehigh Valley.
Ben Orr 0:11
We'll be doing this through conversations with individual artists, administrators, musicians, poets, actors, and arts and cultural organizations will discuss all types of mediums with the goal of enriching local article.
Elise 0:26
Season Four.
Ben Orr 0:28
Yeah, it's been it's been a while since we recorded an episode
Elise 0:32
I don't, I don't know what happened. I do know what happened. I feel like life is just insane. Yeah, it's three people trying to passion project to podcasts that have full time jobs.
Ben Orr 0:43
Yeah, yeah, exactly. Yeah. And it's, you know, hard enough that not even all three of us are in the same room right now.,
We're doing what we can when we can. Yeah. But we're super excited this season. There's a lot that we've got on our plates. But we've heard your feedback. And we know that we need to do a better job of representing more different types of artists. So we are making a commitment this season to having more musicians, more actors, more theatre folk is, you know, everything we can do.
Elise 1:13
Poets, authors, everything in between. And we'd really love if there are people that you think should be on Lehigh Valley arts podcast, please reach out to us on Instagram. It's just @lehighvalleyartspodcast, we want to know who you're going out to see in the community whose books you're reading, what events are you going to who's Aren't you going to look at? We want there to be like a really wide range of people from all different backgrounds. And we are working to find all of those people, but there's just three of us. So if you have someone that you're like, damn, I would love to hear them on Lehigh Valley arts podcast, please go ahead and send us a message. We'd love to hear from you.
Ben Orr 1:49
For sure. And you know, us as hosts are always looking for new friends too.
Send us anybody you think is a good fit. We're looking forward to it.
Elise 1:59
Absolutely. Well, is there anything you're like, super excited for this season, Ben?
Ben Orr 2:03
Oh, man. I'm excited about this episode. And so many of these episodes, we recorded a couple of these interviews over the last month or so. And they're so good. And it pains me that I've been sitting on them because I just have literally not had the time to edit them yet.
Elise 2:21
I forget what happens. Like we did it. And I'm like, Oh, yeah.
Ben Orr 2:25
But I'm so excited for the for the interviews that we have recorded so far to come out. I'm really excited about the lineup that we have scheduled so far for this season, and I'm excited to see new people signing up every day.
Elise 2:39
Well, Arta Brito is a classically trained oil painter who has studied with various professional artists in New York City. She's worked for the world renowned Jeff Koons Studios from 2014 to 2016 has had several group and solo exhibitions throughout the US and is in the permanent collection of the Hunterdon Art Museum and Lehigh University Art Galleries. Her work explores gender and queer themes. Inspired by both personal and current events. Her creative process serves as a vehicle for self exploration and storytelling. Britos work often resist socio political structures and illuminate historical events purposely left out of academia.
Arta, thank you so much for joining us. Welcome.
Arta Brito 3:18
Thank you for having me. I'm excited to be here.
Elise 3:20
I have to say I really love you always have these like, very cute metal clips in your hair is this is like a is this an iconic style choice for you?
Arta Brito 3:30
Yeah, so the metal clips they're like usually clips to like clamp your hair when you're like styling or going to cut it or die or whatever. So it's like a work in progress kind of a thing. So I always like my hair is like growing. So it metaphorically means something like kind of IMO, you know, I'm a whip. I'm a work in progress. And it's no I really like it. And also like the front part of my hair, like the hair kind of turns into little horns and it's actually and it's a reference to the Goddess hacat Or heck latte from Greco Roman mythology, and she was like, the first original witch and I love her like she guides me through like my life because she's also the goddess of the crossroads. So my hair is like no maj some artisans would pick depict her with horns. So that's why I wear this hair is like to kind of have like this goddess with me watching over me while I'm working while I'm thinking while I'm making art.
Elise 4:28
I love that I wear them often like when I'm styling my hair and sometimes I'll leave them in and I'm always like self conscious about it. But I noticed the other day when I was visiting your studio that you had like a bunch of them in and the way you had them. Like layered throughout your hair was so beautiful. And I was like oh god! I want to do that.
Arta Brito 4:44
They're like a crown. It resembles like a work in progress. And for hair like a lot of times and like cultures like your hair is a symbol of something. And for me it feels like it's a symbol of you know, my glory my like I live the fact that I had lived, you know, the hair grows new follicles and you know, it actually retains like information of your life lived like how much nutrients you had. It's actually like, you know, just proof of your existence. It's kind of, you know, pretty really powerful stuff. someone's hair.
Elise 5:18
Absolutely. Well, I noticed in your studio, there was a piece. I don't know if it was a work in progress for something else, or if it was a finished piece, but there was a piece that you had drawn like all of the clips in your hair, and it was like a very prominent part of voice one because I don't know it's not even either. It's not even one of the ones that you submitted. It just stuck in my head.
Arta Brito 5:43
Is it the helicopter piece?
Elise 5:45
Let me look at the photos from the other night and see if it's in here. I believe it was last night.I really I enjoyed visiting your studio, your studio space is really lovely.
Arta Brito 6:08
My domain. Yeah, I love it. I feel like everybody should have a studio. And art studio is like a really great way to like, self discover and self analyze, and just be like, everyone should have some space where they can be creative. I think in an ideal world, that would be a must like, for, for humanity, or for just the well being of the human condition. Do you create a lot of your work in that studio space? Or do you? Do you work on stuff at home? Or is it kind of a combination of the two? Yeah, I, I'm always working, like I'm always kind of on, I try to live a life or like, I'll let anything kind of inspire me or like, interact with something just in real time, and allow that didactic information that's happening in real time in front of me while I'm existing, to influence like creative process or creative work. Because that's like, the best way to make great art is to live your life. And then just like, kind of slowly transmutate it within your body. And let it you know, sometimes you need to let an idea or a concept fester inside you. And then you can get kind of like give birth to it or create the idea. But it, it takes some, for me, it's like, yeah, I can pick up an inspiration from anywhere. I don't think I need to be in the studio. But that's where like, I'm most comfortable creating for sure. Like, I like having a designated space outside of like, where I live. Yeah. Do you think what do you think is so important about having that like separation between your living space in your studio space? I think it's because I'm like, mentally, like, I'm diving deep into like, my subconscious or like things that I'm grappling with. And in my internal world, which are very visceral, like, a lot of my artwork is like, kind of trauma based or trauma aware of itself and like realizes that, you know, the condition that I'm living in are my humanities having to live in these certain limits of like, the ecology of the society that I live in. Yeah, I need like, I don't want to take that home all the time.
It can be very heavy. And you're like, oh, like, it's hard to sleep. Like sometimes it's hard to sleep because like, I my shit is so heavy. Sorry. I'm not allowed to curse. No. Yep. So I can and we got so bad.
I was like, damn, but no, like, sometimes it's, you know, but where the great art comes from is from the shed, like, really? Like, you gotta I mean, I'm not trying to say that everyone should be a tortured artist. Like I don't want to glamorize that at all. But like that there is infinite wisdom in these spaces are those pockets and can be turned into something more beautiful or healthy and more beautiful outlook, I think is should be the goal, if you can, if you can't just take your time. Yeah.
Elise 9:00
Well, it's such a deep form of expression to like, let all of that out into something that like maybe one day other people will see it and like there will be conversation about it. And yeah, it's a lot to put out into the universe.
Arta Brito 9:14
No, it really is because I'm realizing like when I went to art High School and like studied art, there was no third gender artists like I don't remember like a trans like being taught in art history. Like there was spaces where feminine artists embodied more masculine traits in order to pursue the career of creative creative work or you know, their creative endeavors. Like going out into the fields to landscape paint like and getting like permission from like a mayor or something to like, produce a painting commission, and they have to go into like a horse table. So they need pants to like, trudge through the mud and like pink the animals for this like, I don't know, state peace or whatever. Like there's always some kind of space where gender is being negotiated or like, you know, someone is negotiating that space, but it's always limited to the binary, right. And it's never the third gender like person that's like making heart and blew up and like, had their faces everywhere where like, other third gender people can see and identify themselves. Like, it's so important, like a facet of living a happy life is like seeing yourself represented in the art around you. And if you're a third gender person, and you don't see third gender art, you're not seeing yourself represented in the real world. And you shut down. Like, that's just what happens. And like, you know, I don't want to speak for all trans people, like some trans people are like, very headstrong and are like, well, I don't need that, like I can spend for myself. And I'm like, and I just see that pain, like, honestly, like, I don't want to speak for them, like maybe they have other ideas, but the fact that someone has to, like, prove themselves or put on a ruse, or be so confident is evidence enough that there's something broken in this system. So like, I tried to just be like, whatever, like, I guess I'll just make my art and hope for the best and try to let people identify with me if they can. If not, that's fine, too. Is that a goal with your work to create something that, like this representation that you didn't see, for all the girls, I'm doing it for the trans girls, like I'm doing it for my sisters. I'm doing it for my trans brothers. I'm doing it for my trans non binary people like yeah, because they should be witnessed too. You know, and a trans girl who immigrated from Ecuador, like Middle America, probably less than... and was able to make art and like, I want to do it, I want to like, hopefully one day go to the MET and like, have my work represented there. Like with right next to like Georgia O'Keeffe, one of my favorite artists, why not, but most likely not going to happen, but who knows. I mean, I'm doing the work. I saw I'm making something and now it's a matter of like finding the people, the home, the community where people feel empowered to stay. Yeah, I see myself in that. And this is like, you know, another walk of life. And that is like, hey, living a life is painful. It's rough. It's not easy. So, you know, if anyone's recording their life, or like trying to be witness to their own existence, it's a very brave thing to do. So. I don't know. It's I wish more people would do it and advocate for themselves to do that kind of stuff.
Elise 12:32
I think so I think like, representation is so under undervalued, I guess is there I'm not sure if that's the right word that I want to use. But like the the idea of like seeing yourself
Arta Brito 12:45
It's underrated. And it's like, yeah, because you're like, then you're some kind of ego test or you're like a narcissist. It's like, oh, I rather I don't need that I can do it myself. That kind of mentality can be like, you know, I don't know, I think it's good to have that mentality for a lot of things. But I think that someone has to fight for their life already. It's like, there's something wrong. There's so much like, wealth in the world at this point, and so much food and abundance, it's like, a lot of these things shouldn't be this difficult. And I don't know why people are acting like it's okay. I really don't get it.
Elise 13:21
Is there can you think of a time or can you think of something in the media or something art related where like, you did feel like you saw yourself reflected in that work?
Arta Brito 13:33
I guess Georgia O'Keeffe was like maybe the first one because she was painting like giant flowers and like to make, you know, flowers which are so beautiful, like this landscape and like, enlarge them, and it was like, a beautiful vision of nature, and femininity and power and beauty and grace and life and aesthetic and color. Like it just went on and on for me. Like for me, that's what it was. Doesn't mean that that's what Georgia was trying to communicate. It could be whatever she was, you know, whatever her theories are. I don't want to speak for her. But I think Georgia O'Keeffe, Frida Kahlo? Definitely Frida Kahlo, and just any artist really, because like, I think just being a creative in general, outside of being a trans woman, you have to navigate with so many obstacles, like creative work is not easy. You have to really trust your instinct and to trust your instinct. You have to really understand yourself or know yourself to start negotiating what marks are important to what painting or what notes are important to what song. So it takes a lot of like, know how or like knowing of the self, which I don't think is not for the faint of heart. Like, at a certain point. I'm like, sometimes it's just like, sit down and watch some Netflix relax. It can be quite intense.
Elise 14:51
Yeah. Well, I think it's interesting because I think what I hear in that and feel free to just be like Elise No, that's bullshit. That's not what I said. But like what I hear in that is This idea that in navigating your own identity, like you're looking at these artworks made by other people, and you're creating an interpretation that you connect with, because having something like George O'Keeffe's work or free to call his work, or any of this artists work, like maybe it doesn't directly relate to your experience, or maybe it does, but like, finding something in that to connect to, in my opinion is like the mark of a good artist, right? Like that you can find something to connect to.
Arta Brito 15:27
Yeah, is weird, like, no, it's so true. Like, you know, when it's art, when you see it, like, there's something weird about visual media or visual phenomena that like, you know, when its iconic, you know, when it's like, because the symbols and the shapes and like the structure and the line and the vigor behind the creative process behind it that was moving, it was somehow so aware of itself, that it was rang so true that, you know, the Sands of Time, like kind of stopped for that piece. You know, when you look at something, you're like, there's something here, what the hell, I don't know what it is, but I see it. And I think we all grow up with a lot of these images. And again, they become underrated. But when you see an image a new or someone create something new, and you'll see how they pull it through. I mean, I can see where it's related amongst the world and like, place it because that's what I'm trained to do with my eyes. But for someone who isn't, yeah, it's really grabbing, like, it can be very visceral. Like, I mean, I'm sure a lot of your audience, like have read comics, or like, look at manga, or illustration, animation, like, visual phenomena can tell such a great story. It's one of the best ways to but I don't know if I answered your question. I'm so sorry.
Elise 16:43
It was just more of like, a comment because I like and I'm not just saying this to flatter you like I truly feel that way, when I look at your work that like there is something in it. And I'll jump right to the one piece that you submitted the what is a trans woman but a knight in shining shining armor piece, because I think I had seen like, either clips of it or like small bits of it on your social media or wherever. And then I saw it in person at your studio. And there was like other people in there. And I was like, I wish everyone could just go away. So I could just like stand in front for a little bit. And then I went, I kept like coming back into your studio. And then like, there was one point where like, there's no one there. And I think you had you had like gone to go get a drink or something. I was like perfect. So then I just like stood there and I I love like how life size this piece is. And like something I felt like I don't know, I can't even like explain the feeling of it. But I was wondering just for for those listening, if you could kind of describe give us like a brief overview of like a visual description of this piece. And I have it here too, if you need like...
Arta Brito 17:49
Well, the piece is it's a life size work self portrait, and it's, I think about maybe like 80 Something inches or 90 inches in height and 39 inches wide. So it's more than shoulder width apart and more than my body height. So it can encompass the viewer, which is what I wanted it to do. I kind of wanted the people like the viewer to like, feel like they could walk into the world and also that the world was spilling out into reality, which was like a metaphysical like spell I've been trying to do with my art is like, having achieved well yeah, like that's the thing. It's like, I'm like, you know, I'm like a visual which I guess. I'm not like into the occult like that or anything of that nature. But I'm into the symbology of art history and using these iconic images like the triangle the circle the square that are so underrated supposably but yet pierce our reality so viscerally. So this self portrait was me using all of that knowledge of like storytelling, like how to use you know, visual media to lead the through a piece and weave the viewer through, you know, the images of the Fox, the wolf, the moon, the comments, the gates in the background of those, those towers, the armor, like everything kind of has its own iconic feel and grasp and space within that reality. So it's like, I don't know. Sorry, I went off but yeah, the piece the piece is black and white charcoal, stark black background. It's the nighttime and there's a moon on the upper right hand corner. It's also a self portrait of me crying into the mouth of a wolf below to my our right, the figures left. And this wolf has flames coming out of its mouth that are being quelled by the tears from the moon. Then the night is standing on like murky, subconscious waters standing on water and it has a flaming fire sword in front of it. And it's kind of standing stoically in place. And then there's a lobster coming out of the water going onto the trail of life and the first words on the trail of life arch dressed in love. And then there's a fox with a halo around it piercing, right at the viewer the same way that knight kind of is like looking out forward, the armor has like a chest gem in it. And that like gem is actually placed on the heart chakra of the body of the figure. And inside that gem is a smaller figure, which is actually my real self beyond my physical body. That's what that represents, like, in my heart, beyond the physics of my body in this reality. Beyond that space, it's a feminine energy. And that gemstone is like how I'm visually just trying to represent it. And yeah, I mean, I could go on and on and on. Sorry!
Elise 20:49
Don't apologize, this is your space. I really, like one size wise, this piece is extremely striking. But to like, there, you said it exactly. As I was thinking it like, there is so much narrative visual storytelling, like woven throughout this piece. And I don't know, like, you spoke specifically to this, like feminine energy in the heart chakra. And when I was in the studio, you'd mentioned that you had like, it was lower in the piece, and you kind of like moved it up. And I'm just curious, like, in that vein, there is so much going on in this piece, like, was there a direction for how you decided like, where things were going to be placed? Or how it was going to be laid out? Or kind of? No, no, it's probably a long development.
Arta Brito 21:36
Yeah, it took like a year to develop this work well, because like, I really hate capitalism structure around the art world it makes for really shitty art, a lot of the time that is like, has to be made and has to be like within this one. I don't know it just like it's just too quick for the human condition to really expel spiritual work out of and regurgitate it from like the depths of the trauma that we're dealing with, or the things that we're coping with or trying to see because you have to live through it first, to completely visualize it in a sense, and to you need some space to breathe from it and recover and get your, you know, your wits about you to really pull an image or a story from that experience. And I feel like, you know, capitalism just makes you make a bunch of great images from a couple ideas that you might have strung together and luckily, might conceptually fit with you. But some artists can make it fit. But most artists I realized can't it's just too hard. So this piece took like a year to make. And I was working part time and stuff and thankfully was able to sustain myself while I was developing these ideas. So yeah, having an extra job was really helpful. But yeah, I was just letting life and like my, my, like sleeping patterns, like when I was dreaming, like I actually got the title of the piece while I was working, I was actually at work and away from the studio, and that those words came into my ear, what is a trans woman but a knight in shining armor. Those words came to me while I was like not thinking about the creative process, but then automatically like i True, like how I wanted them to look and wrote it down on a piece of paper. And from that drawing, I've visualized it like maybe a month later again, and it came back to me a month after that. And like it took a couple of months for me to really like just sit with the concept of me, allowing myself to draw myself like a knight, I really had to like visualize it and internalize what this symbology would mean for you know, what is going on in my life at the moment and how I'm having to like really like put my armor on and like you know, fend for myself in a certain way or advocate for my trans experience in some regard. So yeah, like I had to meditate with it for like a while and it wasn't until I ran into the moon tarot card where I knew that like this I was like, why is this moon tarot card like really speaking to me. And then I learned about it and and all the symbols and symbology about it are kind of about like The Walking life that we lead and our subconscious kind of helping us navigate that journey through the you know, the image of the moon, which represents, you know, the light in the night so the night represents like, you know, you know that space where you're going to bed or falling asleep or maybe even getting up from something but it's like a space where you're alone with your thoughts is the nighttime the moon is like awareness lit up the night. So it's it literally reflects the sun's light off of the Moon's surface and that's how you can see at night so this moon tarot card talks about how the subconscious sleepy parts of ourselves also are important in our walking life and a part of our journey. And we have to like, work through that to reach some kind of enlightenment as well, it doesn't just happen on the physical realm, it happens in the mental scape of the human condition as well. So I knew that that had to be the story that's like, that's basically the like psychic backbone of the images in the piece. And the night is just my self portrait. And me having to walk through that. And for that to happen, I needed time, I couldn't do it within like, a couple months or something. No, I needed to like sit with my life at the moment. And like, the things that were going well, the things that weren't having to readjust having to be in the right mental space to do the right work. And it was not easy. Like, it was fun, it was a lot. It was like exciting. That's what it was, like, I was scared that I wasn't going to be able to pull that image out of the page, I was really terrified. It was very, like overwhelming to like draw self portrait that big, because I haven't worked like that in a long time. And I haven't worked psychically before, like, where I'm like, letting my my own subconscious kind of guide the creative process, I usually just directed a vision, captured it and executed it, which is what that capitalist structure kind of does, as you know, like, it's like, I was really good at doing that. And that's okay. But like, I want to move away from that and start actually developing myself with my work in this more way where they're working together, as opposed to meet directing my art to do something I want my art to, like, also, tell me where I am psychically, or, or how I'm confronting something, and then I'm aware of it. And then I realized I have to shift or move, and then I can see how I'm going to take care of that part of the drawing and let it move to a new another part of the composition or, or I realized I develop the background a lot. And it symbolizes this and now it tells me enough about the subject, you know, because it's immersed in that atmosphere in the background. So it takes a long time for me to kind of forge these images. Yeah.
Elise 27:06
I'm curious and answer this if you like, but do you keep a dream journal or like, like a journal when you wake up? Or a meditation journal?
Arta Brito 27:15
My sketchbook. Yeah, like, I think that's the closest thing to a dream journal that I have. But yeah, I've been wanting to but I'm in such to go... and I'm like, overwhelmed as hell by it. So there has been no time for a dream journal. I'm too anxious. I'm always curious. I want one though. I think it's a great idea. Yeah.
Elise 27:37
I'm always curious, like people that talk about their work like this, especially people that work in a visual medium, like whether or not they do because I think it's interesting, like journaling. Journaling I most people associate with like writing things down or like writing, writing down words, but like my journal is like, I drew a little picture here. And then I wrote this and then I like Drew, scribble into shape. And like all the things that come into my brain while I'm sleeping, but I'd be interested, like, if you did keep a dream journal, like how your words would translate to your artwork, or if it would be something that was just more like, visual or if it is or this isn't really a question. No, no, I think it's just visual. Yeah, I went through like, my sketchbook is the closest thing. Yeah. So sounds like you kind of do.
Arta Brito 28:19
Yeah, I feel Yeah, cuz I am working with like, you know, images that come to me and my dream or my waking life. But I'm like lucid, like daydreaming is usually in those like, weird states of consciousness, where someone's in this liminal space of thought, where creativity just finds a way to like just jolt at me.
Elise 28:41
I like that. And I'm curious, the the only text that you included in this piece that says trust in love is that where does that come from?
Arta Brito 28:50
So it was, like sacred words spoken to me by this older woman. You know, she had a nurse that was helping her and, like, my friend helped me, come see her. And we had to set like an appointment. And it was really nice and lovely. But what she told me she's like, just believe these words, you know, so I like pause and listen, and she looked at me and she said, all you have to do is trust and love. And I was like, so it was so zen and like, she just was like, so like always, like so passionate and onpoint. And she was older. By that time. She was like in her 80s and like, still very active and like, doing everything and like just living her life and having a wonderful time. But yeah, she told me that and that always stuck with me. It was like always kind of haunted me. And she was the CEO of the Girl Scouts. At a certain point in her career. Frances Hesselbein. Francis is her name. And yeah, she told me those words and I live my life by them. She was really beautiful. Really amazing. Very wise. Like always, she was always on, like, the way I am on for the creative endeavors of life. Like she was like that. But like, all the time for everything, always. And it was really like it was crazy to see how like strong she was. She was like, very. Yeah, so she passed away a couple of years ago. So, but yeah, those were her words and I'm gonna live my life. That's my first value. It's like rule number one trust in love. Now we can like proceed into like the murky waters of the subconscious.
Elise 30:32
Is that something that you this kind of, like you said, like, I live by that I structure by that? Like, is that too? Is that a value for you? Is that something you look for? And other people are in?
Arta Brito 30:43
Yeah, it is. It's good. And it's bad because it lets me weave bad people out real quick. They do not trust in love. So I will not trust them. It's weird. I find my friends based on values now. Like, before, it was just more so on like a feeling now I'm like, No, there's actual building blocks of like, you know, respect that they have for the life that they're leading, that are intrigued to my well being. So like, if someone doesn't have that kind of heart, or like, value structure, it's just not healthy for me to be around. So I just, you know, I just like I'm like cool, like, Go live your life. That's fine. Like, more power to you. Good luck. Like, I'm wishing you the best because it's hard. But I'm just not into it. If like someone just like no, I will. I will dip out hard will take a left... but with peace and love.
Elise 31:45
As you say that I like envision this with your this drawing of, of you as a knight in front of me like this barrier around you that people just like bounce off of Yeah, well, it's based your read on them, which I like.
Arta Brito 31:58
I'll give them a look. And they just know to like, I'm like yeah, I don't like you. I'm sorry. Like, I can't hide it like as bad and then they like get an officer because like most people aren't comfortable with saying when they don't like someone I'm very comfortable letting you know, like, I'm like, bro. I don't like the pie. I'm sorry. I'm gonna peace out. Or I'll just like duck out like in front of you. Like as you're talking and I will leave. I said yesterday, or two days ago. It was like, yeah, there was this really nice chick. She was lovely. But I was just like, not vibing I don't know what it was. She was lovely and fine. I could have been an asshole, but I just had to be like, yo, this is like a lot of negativity right now.
Elise 32:52
Are you the type of person that like your your emotion or your feeling? Or your thought about something is on your face? Like whether you want it to be or not?
Arta Brito 33:03
eah. All the time. And I and I mean well by it. And sometimes I'm on like on the wrong side of things. But at least I know where I stand a little bit. You know, it's good to have friends out there who are kind of like our child.
Elise 33:22
I have this problem often. I feel like in the staff meetings I should wear like a mask or something. Sometimes I'm just like, what? Elise stop making that face!
Arta Brito 33:31
It's the same. Yeah, I like widen my eyes or a person. Like I just was like kind of squint a little when I hear something. And I'm like, why am I giving everything away? I'm like, just showing my cars. It's actually quite foolish. I should be more mature about that. I'll grow into it. Like it's very genuine though. It's not advantageous to have that face that like so clearly expresses itself. I have a friend. They're really sweet and kind. I'm very lucky. I have plenty I'm good. I'm not trying to brag and I'll have like, millions of friends but I have like the the ones that I have are great. So I'm lucky. I'll be alright.
Elise 34:30
Maintaining adult friendships is like it's hard.
Arta Brito 34:32
Super hard. Yeah. Cuz it's it's another it's a relationship.
Elise 34:38
Good. Well, speaking, speaking of your exhibition that's coming up. I was curious if you wanted to talk a little bit about I know you mentioned like the work that you're creating for it, but how did this come about? And what is your involvement with the center and what is your connection to it?
Arta Brito 34:56
Yes. So in my past when I was Uh, you know, in my dead life or whatever you want to call it my past life, my past self, I had a, I have a client, his name is Bill McGillen and he's bought a couple of my pieces and became a friend. And he actually worked for the center or still does work for the Center. I believe he does. But he was, yeah, working there. And he told me that they had a gallery space. And I was like, All right, I was still living in New York at the time of bed, or I was thinking about coming over, ended up coming here. And then he invited me to do a show. And I was like, alright, I'll do a show. It took some time, because I was early on in my transition, I just got home. But yeah, since then, I was like, Okay, the first show I want to have is at the Bradbury Sullivan center, what is the title of the exhibition? So yeah, the exhibition, my solo show is going to be called artists through the looking glass. And yeah, it's the the title work is actually me looking into a looking glass and the reflection of the Looking Glasses, then looking at the viewer. So it's like a bit meta again.
Cuz, I don't know if like, people know, but like, I mean, everyone knows this. It's like how reality works, but it's like we perceive ourselves. But like, we you can't necessarily perceive how people perceive you. But as a trans individual, like, because my, you know, I wear my reality on my splash with the way I'm transitioning with hormone therapy and everything, and just the way I look and present, you know, people's faces, just kind of... some people are very, you know, the way I am there that way, too.
So, there's people who, like, just categorize me and like, put me away in like a box, or define me in a definition of like, what my experience might be, just because I'm third gender. So the painting is kind of, of me being aware of like, my femininity, aware of how people that are going to be perceiving it, and are going to have their own opinions. But that, at the end of the day, like, when you're walking around with artists through the looking glass, like, I hope that people realize, like, they have their own looking glass up there, like looking at themselves and, and being seen from other, like, people can see you to behave the way that you're behaving like what are the lives that you're kind of leading internally or externally, like, I hope people think more critically about, you know, their kind of stance within their own, like, mental prism and how they perceive other people and maybe ask themselves, like, what are Yeah, what are those, like core values that we have? How do they shape or form our physical reality? And do they reflect what we hold dear to our hearts? I don't know. Uh, for me, I'm doing my best upholding my end. So I just hope other people advocate for themselves and feel empowered to like, look through that Looking Glass, like with eyes wide open and like, try to love what you see and try to love who you are, and try to make things better based on like, because we all know what happened, we, you know, like, we all know what's going on in the world, we are all perceiving it, we're all feeling it. Just because I wear my so called, you know, experience journey or trauma, however, people might want to label it like on my flesh, it doesn't mean that you're not living that very same thing too.
You might just be targeting it differently in your own, you know, in your own way, because that's just how you represent yourself or whatever. And that's okay. Absolutely. That's so beautiful. I like how you phrase that. And I think like, we talked a little bit about this before that, like, I think that marks great artwork is like artwork that people can find themselves in are like find their own reflection. And yeah, because I don't want a void of experience. Yeah, yes, effects, you know, no, yeah, totally. Like, I think that's what I'm trying to do and hoping to do with this collection. And like, the work that I want to do moving forward is, you know, is now setting a precedent of like, what I'm expecting from myself, which is like this kind of place where I really look at myself and allow myself to develop as a human being and as an artist, you know, hand in hand. And yeah, I'm finding like a lot of interesting information, a lot of like, things that are heartbreaking about the world, but I'm coming to reality and like moving forward, I'm holding myself accountable for how I behave in the world. And like the kind of work I want to create and the kind of dialogue I want to have with my viewer. And, you know, I want to set a certain tone or a certain precedent for, you know, the kind of experience I want for them, because that's my function as an artist is like, I'm supposed to kind of hold that space. So I I've been asking myself what kind of art holds that space and it's at for right now it's the self portraits. How does this body of work differ from things that you've created in the past or like other bodies of work that you've done? Well, I only had one other main collection, which is my humanist collection. And in that collection, I was looking at like, everyone around me and painting them all the time.
I'm so it's really interesting when you see like, what happened to myself and like what happened with my life journey and the kinds of work that is being created before and after the transition. So my old work is entitled humanism and then it was like humanism 123, and four, something I don't even know, if I did a fourth, I can't remember, it all blurs together. But like, in that body of work, I was really inspired by the high Italian Renaissance and their movement of humanism, which was thinking that, you know, mankind is God's most beautiful creation, and that we should like, really live it up and like, you know, try to find our enlightenment try to find ourselves like look with and like, support each other. So, you know, like, I was working with oils and gold leaf and letting some of the gold leaf glimmer through the portraits. And that being a metaphor for like, you know, where we come from as a human civilization, how we're gritty how we're lived, how we're experienced, but like, after, like, 11 years of this work, I had, like a bunch of portraits of everyone else. And I ultimately realized, like, my artwork literally told me like, Okay, now what about you like, and that's really daunting, like, that's the function of a good art practice actually is like, your work, if it's good enough, will, will reach your psyche, and see you you'll like, you'll see, you'll look into the abyss of your soul of yourself, you'll look into it. And that's a really intense, like, you know, it like really, like, took me for a loop. And now I have to do self portraits. Like, it would be ridiculous for me not to like, How can I think about anything else, when I've come to terms with like, my transition, and myself, and where I fit in the psychology of mankind, like you my best role in this civilization is as my trans self, because that's the woman, the person, the non binary person that I kind of am, like, I, you know, I'm still learning and figuring all of this stuff out. So, yeah, it's like, I don't know why I would make a painting about something that, you know, like humanism, when now I'm trying to discover my own humanism, my own human, huge human humanity within myself, that I, you know, you can see it, it's like, I was looking outside a lot, for a long time, right. And it took me a while to finally start looking with it. And so it's like, you know, two sides of the same coin, almost.
Elise 42:33
As you said that I was thinking like, Oh, it's so what's the word I'm looking for? Like, it's interesting that this switch coincides with your transition. But I think like, it's inevitable, right? Like, in 10 years from now. 20 years from now, 30 years from now, you will have this incredible body of work that like represents you throughout time, which I think like that, that is the case for a lot of artists, like your art reflects your experience. But like, I the work that you're creating now is like, so raw, and very, very powerful. Thank you that like, I, I want to have a friend that was on this podcast, last season. His name is Doug. Hi, Doug. And he wants to have like, he wants to have a show where it's like, the alumni of Lehigh Valley arts podcast podcast.
He goes back and like, "how traumatizing was to sit in a room with Elise or Ben or Elisabeth for an hour and a half." But like, I want to do this now, like in 30 years and be like, Arta, do you remember? Your first solo show? Talking about all this?
How do you feel about it now? And I'm curious, like, you can't know this. But as we're talking about, like diving into the subconscious, like, what do you what do you predict that like, your reaction to this work would be?
Arta Brito 43:51
Well, I think I think, well, I'm, I'm already kind of ready because like, this is the thing trans girls, like, get their past, I don't know about all of them. But like, for me, like, woof, like, you have to really like excavate yourself and like those sacred parts of yourself and really do some soul searching that like, you just can kind of feel where you were during the trauma that you experienced and where you're gonna go in the future. But I see definitely there being like, at least some modicum of like backlash because like, the trans experience is still so new, and it's still so being like, you know, digested and I'm kind of at the beach. Like, I feel like, I don't know, there's probably like lots of other trans artists. I just haven't had the time right now to like, really research them. I do have some friends online and on Instagram, who are like Hispanic and like, make make art themselves and they're transgender. But like, where were the people doing it now? So you know, obviously, there's gonna be right, it's not gonna sit well with everyone, even people we love like, I'm sure there's gonna be other trans people in the trans community that like, don't agree with like my worldview, or the way I see things and I'm like,
I'm already ready to be like, it's okay. Like it's fine. Because I'm like, that's also like, that's just what you what happens when you do good work. Like, it's not supposed to be perfect. That would be really ridiculous and kind of like creepy. Do you know what I mean? Yeah, it'd be like, so I know I'm gonna eat shit. I know, I'm gonna fall on my face.
Elise 45:22
I wasn't like, oh, like future society is going to hate the work of 2023, Arta. \
Arta Brito 45:31
They might and I'm ok with that! And there are flaws. Like I see flaws in my psychology always. And that's why I have good friends who can like point things out like, Hey, aren't I just, you know, like, that's the thing is like, I'm just now processing this trauma. I'm obviously not going to do it gracefully and perfect. That's not real.
Elise 45:51
That's not real. And I don't think anyone expects that of you.
Arta Brito 45:55
You would be surprised. Internet trolls are really facetious and mean and like, but then it's funny because like, as soon as they do it to you, there's like three, three arrows pointed at them. Because it's like, it's not about like, it's not about getting it right, or knowing what you have, or something like that. It's about just knowing that it's a journey, and it's gonna be an experience what that is, I don't know, I think that's what I'm ready for is like just being okay with it succeeding or even not, like, maybe this work will never really go anywhere. Whatever, they're not doing it for that I'm doing it just to survive, just to like, get through the day. And like, you know, if that's what I'm doing it for, it's like, it's emotional healing for my mental well being, it really is.
Elise 46:42
Absolutely. Do you feel like, I'm not sure how to phrase this, this might take a couple passes. But you said earlier, like, as a trans woman, like we are the people creating this work now, like, in this reality, where this is something that's kind of coming to fruition for a lot of people like you are creating this work. Now as you go, do you feel like you have a community of people or other artists that you work with, or friends that like, can connect to your artwork, or that like, I can help talk through your artwork?
Arta Brito 47:17
It's a little isolated, I'm not gonna lie. Like, I think a lot of the way trans youth like visualizes their trans experience is very different from me, because I'm an immigrant to begin with, like, I'm not from this land. So like, I don't like I don't really subscribe to a lot of people's opinions or ideas. And I have a really intense worldview on like, you know, what success looks like? Or what is, you know, what, what is art in whatever terms? So, yeah, like, just being an immigrant has, like, tainted my experience as a trans woman too. And it's tainted on like, many levels. It's weird. Like, at the moment, like, I do see some young people getting like, a little flustered, because I'm so loud about shit. But I'm also like, bro, like, we're allowed, as soon as we walk out, like, as soon as we walk out of the door, we're loud. Why? Because we exist. So I'm not trying to like what I want to say is like, I'm not trying to advocate for like, I want to advocate for other trans girls and other trans people and third, gender, people I do. But I understand that I'm not going to like, fit their mold perfectly, because it's such an infinite space, like the spectrum of genders infinite. And everyone can you can interact with it in infinite ways. Like, yeah, I'm gonna get lost, I'm probably going to lose a lot of trans people in that, like, they're gonna have many different types of ways that are just as complex as I am. So I think like, me, just doing the work is courageous enough. And I'll say, my piece with that, like, you know, some youth might like get rattled, and whatever. But then I'm also like, yeah, that's a facet of healing happening is that you're going to be uncomfortable, it's going to like, burn, because yeah, sometimes a healing process requires burning or requires some kind of mending or bones crashing back into place, or being stapled back. Like, yeah, the the grieving process for this isn't pretty. And the outlash is gonna be a facet of the healing, because it just usually is like, I've seen this pattern happen with like, you know, queer rights and gay rights and immigrant rights and, you know, with even like things with like Black Lives Matter and things like that, and trans rights in schools now, and you can't say gay, it's like, you see the pattern. It's like that. I think it's called, I can't remember what it's called. But it's like this snake that eats its tail. Oh, I understand. Yeah, yeah, like an alchemical symbol. And it's kind of like, I feel like, that's just a facet of a natural cycle. And it's okay. It's just some people are not okay with that and are just not patient enough. And that's okay, too. We're all learning how to deal with it. Yeah, so it is isolating but
There are a couple people, I'm able to meet artists that get it, or just people who I meet. And I'm just like, I can see in their eyes that by the way, they're looking at me, they get it. And then we're like, friends, but like, we're kind of friends on a different level, because we can talk like this with each other. Do you know what I mean? Like, we're, we're talking about the things that we're not supposed to talk about, or that are like, really 10 subjects, for many great reasons. You know, like, it's supposed to be like that thing that makes you squirm inside. Yeah, that's what I'm working with. in it. Yeah, respectively. Yeah, I don't, I don't think it's natural to work with large group of people, like, usually you find like just a handful of people. And you're like, Okay, we're gonna, like, tread through this mud together and be very patient with ourselves as it's unraveling.
Elise 50:45
I think that is a good transition into this other piece that you submitted, titled Black Sheep, which I also got to see in person in your studio. And when I asked you what you'd like to talk about, on the podcast, you were like, Oh, do you think we can talk about colonization, I was like, Sure, we can.
So I'll just ask if you don't mind, like similarly to the other piece, if for those that are listening, if you want to kind of tell us what we're looking at here.
Arta Brito 51:17
This piece is about 49 inches tall by 39 inches wide, I think are the dimensions and it's a self portrait of me half trans woman, half male, black sheep.
And I'm carrying on my shoulder the Christian flag of the Spanish colonists when they came to South America, I back and though flag kind of does this in interloping twist and inside like that little negative space of the flag Are these like sharp teeth. In the background is this large mountain, it's actually mount Jean Bourassa. In Ecuador, which is the furthest point, planet Earth stretched out to outer space. So from the center of the Earth, this point of this mountain reaches the furthest into the heavens, early to outer space. So I wanted that in the background. And then there's a flock of sheep on the ground level of that mountain. And I'm off on like some kind of hillside or Cliff walking up another mountain to look at the view. And I'm also wounded on there on the side of the black sheep is a gash. And from that gash, some blood is spilling forward into a chalice or a cup, which is European and shape, but the iconography and imagery on the cup are ink and indigenous. So yeah, there's a lot going on in this piece. I also have a halo. It's a lot.
Elise 52:47
Yeah, yeah. And this, this one is also this is a charcoal piece. So it's black and white, but has like some very, like impressively intense, like texture and detail. Like I'm very drawn to the, I guess wool. On the sheep, like the texture of that tube is really excellent. And your hair, the hair on like, your body or on the hair on your body, the hair on your head as it like stretches into the halo. Like the texture is so good.
Arta Brito 53:15
Well, hair is the head part of my body.
Well, this is this piece took me six months to work on. So yeah, I had some time to like really give some richness to different textures on the page to help, you know, images read better, and stuff. But no, yeah, this is the first piece I created as arta at the 1120 art studios. So this was like my first this is what set precedent that the rest of the exhibition. I was like, this is the kind of work I want to do. This is the strongest image I've made in my career so far.
Is there anything specific you want to talk about? Or like, yeah, like, is there any specific symbolism that pops out at you? Or how do you feel about it? Like what do you see when you look at it?
Elise 54:06
Similar to your other piece, I had first seen this on social media, which absolutely shrinks, like, the size and scope of something? Yeah. So when I saw it in person, I was like, extra struck because it was much larger than I was thinking and similarly, like, kind of has this scope that you could almost walk into it. But I think like when I first saw the image on Instagram, I was really, really drawn to it because like, pain is like the first word that I thought of when I looked at it and like the, the way that the upper half of your body is you your palm is like on the ground and your head is kind of like turned and stretched, looking up towards the sky, but your eyes are kind of closed like there was just something so
Though visceral in that like the movement in your arm, but also kind of just like one of my students said this about a work of art the other day, like this calm, neutral look that still reflects so much pain and emotion. And like I was so just like, I remember like zooming in on Instagram and just like staring at it, and like trying to like, often, like, look at a piece and try to like, mimic it with my own face and just like, reflect on how I'm feeling about the person uniforms, because I like it helps me better understand. I don't know, like, I remember I very vividly remember doing that, like, as I was looking at this piece on WoW is being like so. Oh, that's like the coolest zoomed by.
Because tech, like, technically the work is really impressive. But like subject matter wise, like, it took point two seconds for me to be like, I know what this is about. But like, there's still so much to look at. And it's still so deep.
Arta Brito 55:59
I guess that feeling I was trying to emit was the feeling of ecstasy, which I felt when I realized I was trans for the first time. So when I really accepted myself, I actually went into like a bipolar episode, because I had to like really conceptually conceptualize what would my reality look like if I was a trans woman and like, came out at the age of like, at the time, it was 27. And you know, the kinds of things I would be negotiating, so like, I was negotiating more relationships with other people that would be healthier, because they see me as feminine, or they see me as a feminine energy person where I can be more seen for myself and like, actually take up space for myself. So that was really beautiful. But I also realized, like, I wouldn't be letting go of a lot of people who are holding on to this concept of my physical form, conceptually in their reality. And that was really difficult. It was very, like, you know, euphoric, but then also very depressive. So I was reeling between these two extremes of emotional landscapes, and I was having to, like, my brain had to be physically strong enough to conjoin both ideas, and it couldn't, it couldn't fathom both, because it's so strong to like, live for yourself, and then also have consumed the concept of self and someone else's reality. Which, you know, people get mad at you, like, I have parts of my family that see me as the, you know, trans woman that like, is a man eating bitch that like your little brother killed him, you know what I mean? Like, I'm, I also symbolize that to them. Like, I have to be very clear about like, the reason they stopped talking to me is because they're, like, pissed that they don't have their little brother anymore. And they really love that person, you know, whoever that was to them, and their reality and I am responsible for like changing my identity to a certain extent. And like, that includes how that shifted other people's realities. It's really toxic that trans people have to negotiate that space. It's so like, guttural ly, destructive, like it's really soul wrenching, and, you know, definitely explains why mental illness is like a thing in our community often is, not often, but I mean, I don't know, like, statistically speaking, it is often statistically speaking, like, trans people, or queer people, or people of third gender have a more difficult time, like, reintegrating into society somehow, because there's so much pushed aside or made to not have, you know, the, the security that is that should be given to everyone who's alive. But yeah, so like this piece, I'm, I have different colored eyes. And that's actually alluding to my bipolar episode that I was in both that like, you know, highest of highs, like feeling my femininity, feeling this beautiful, like, feminine spiritual energy that was from another realm beyond my physical body in unifying with that, like that is a beautiful, intimate thing for anyone to deal with. And you know, and other people do it with their masculinity too. And that's a beautiful and intimate space for them to deal that with that stuff. So it was like, literally feeling this beautiful feeling and then also realizing the terror of having that embody, you know, having to embody that and like what that means for the world and for my family and how they may or may not want to perceive me, you know, it's, it was a lot to handle and like to try to have like, I don't know, it's hard to express but that's like the face that culminated was like just this face of like, you're, you're kind of like, you're just letting things wash over you. And they're beautiful and terrifying and gorgeous and
Sad, but there's, you know, it's not an easy place to exist. Like, it sounds like it could be cool. It's not, it's rough.
You know, it is really moving. I definitely had like an ego death kind of experience when I had my first bipolar episode. At least that's what it felt like, but, you know, you, when you break it down, it's just, there's so much tension and pressure around trans people that, like, I had a mental break, like, that's what happened. Like, there's so much it's such a, you know, it can be such a difficult reality or harsh existence that the brain has a hard time, conceptualizing it. So it gives gives out or like, is to stress to continue, it's kind of like, that's, something's got to change, you know, the world has to move different now, it's, it's not okay for people to have to deal with that. I love this piece. And I, it doesn't culturally, ethnically, gender relate to my experience at all, but like, it causes some sort of, like, emotional reaction when I look at it, and it, I don't know, it's very, very powerful. Well, it's, it's evidence that there's something wrong with, you know, reality, like, and the fact that you can feel it through the image, just you being witness to that reality ringing true in your reality to like, you're like, Wow, a friend of mine went through that, or someone who I consider in my community is dealing with this kind of gravitas of this combination of culture or whatever happened around, you know, transit ideology, gender ideology, whatever you want to call it. Like, there's so much stigma here that it literally torments the human condition. We all feel that on a different level, like just you don't have to be trans to know what it might feel like, you know, and we all feel it in our own ways we might feel boxed out or left out. And everyone can relate to being a black sheep at some point. And we think it's good for people to kind of go through it. It's like a rite of passage, I don't think it's great, saying it's easy. I'm not saying it's like healthy, but I think it helps with the fortitude of the human condition. Like, you know, after this, I feel like I can do a lot like I'm really proud of myself for like, after two years in hormone therapy, coming out, letting the chips fall, where they may have seen where they landed, picking things back up again, reflecting on things and what I have is that, you know, a solo show coming out. That's pretty great. That's lovely, you know, things are not bad, things are great. Let's be very clear, like, I'm carrying on I'm doing my work, I'm trying to make it you know, hopefully one day, it's something they can do, and not have to worry like about having another job or something to help support it. Hopefully more people can like, buy or invest or help out somehow or I have some kind of income stream that helps me make it more accessible for me to access this part of my creative vision and let it flourish. That's my only hope is like, hopefully it becomes self sustaining somehow. Absolutely.
Elise 1:03:05
Are you excited that your first solo exhibition is here in the Lehigh Valley?
Arta Brito 1:03:10
Yeah, I love the Lehigh Valley. I don't know why like everyone who like is from here, and then like leaves are so happy. I love that I'm like, I always wanted to return I was like, Yo, this place is my home. I love the Lehigh Valley. I loved LV pa i love like, all my friends here. I love the community here. I like feel so much stronger. Or I'm here I'm so happy. I'm home. Like Bethlehem specifically feels like home. Easton is now where I live, and it's becoming my home. But it's like, the whole Lehigh Valley has my heart like it like as an immigrant, like this community supports the arts so much that I was able to go to like a charter art school and like study art. And like that saved my life as a trans girl that saved my life. That was everything, you know, and it was my whole world for so long. But now it's nice to like reincorporate that part of myself with my new self now and kind of see how I'm gonna move forward. And I'm really happy and grateful to do it here in the Lehigh Valley. Honestly, for real. I love everyone here. I love this place.
Elise 1:04:11
What do you what do you feel like is different about the arts community in the Lehigh Valley, as opposed to like other places, and I don't know how many other places you've lived?
Arta Brito 1:04:20
I mean, I lived in New York, I think the Lehigh Valley is more self sustaining. And I feel like in New York, you kind of have to, like really know people and really, like, you know, like, everyone's kind of doing it. So there's a bunch of networks but like, you have to find the right ones and which one's the right fit and it's almost like too much noise. Whereas here like, there's only like the art community is really small. So like, it's nice, you can find a lot of camaraderie with like everyone here like you can kind of like, you know, get to meet the whole scene. I mean, it's also in that way kind of big, like we have networks that reach out into New York, Philadelphia, Florida, Miami, like you know, like Los Angeles, probably Europe as well. There's ways of getting anything done in the Lehigh Valley. I like that, like it's well networked, like locally and like globally as well. Like there's enough people that have their pulse on the right places that can put you in the right connection with the right people to make certain things happen. There is enough of it. But you know, I like that. You can do that. In New York City, it's like, you're kind of figuring everything out and everyone is all the time and the economy's really rough out there. It's like, it's just, I don't know, I didn't like it. There's too much. I think here I can like actually digest my thoughts in New York, it was just too difficult because there's so much like you got to pay rent and you got to do this. You got to do that. You got to like dance and it was too much. It's not possible.
Elise 1:05:50
Fair enough. Fair enough. Well, are to if people want to see your work, or find your work online, where's a good place to do that?
Arta Brito 1:06:01
Yeah, I guess you can follow me on Instagram at our tube retail. That's artabrito Let's Instagram for Arta Brito. And then my website is artbyarta. So those are kind of like the two hash I think on tiktok, I'm artbyarta. And on Twitter I'm artbyarta. But Instagram, it's artabrito. I'm trying to get that art by art on Instagram. I don't know how I'm gonna do that. Like no one checks, Instagram complaints, nothing.
Elise 1:06:52
You've two places where work will soon beyond view and probably by the time this comes out what already beyond view.
Arta Brito 1:07:37
So Atelier Jolie Gallery. And yeah, it's gonna be the exhibition, "the language of heART" group show from November 30. till about like January I think it's gonna be up for three months. So you can check out that's more of my old work. And then my new work is going to be at the Bradbury Sullivan Center in Allentown. And that runs till January 29. There's a lot of hands helping me with this exhibition. I have like friends helping me with installation and write ups and so please help all the work. It's not just me there's like a DJ making music. Light designer, installation designer. Yeah, so it's a lot of hands. So please come please enjoy the work. We're doing it for you guys. We're doing it for the love. So thank you. Thank you.
Elise 1:08:30
Awesome Arta. Thank you so much.
Arta Brito 1:08:32
Thank you so much for having me.
Ben Orr 1:08:35
Arta thank you so much for coming in and recording today.
For those that are listening at Bradbury Sullivan LGBT community center right now, Arta Through the Looking Glass is on display until January 29. And on Saturday, January 27, from 2 to 4pm. There will be a conversation with Arta Brito and Mark Wonsidler, who is the curator of exhibitions and collections at Lehigh University Art Galleries. Bradbury Sullivan is located at 522 West Maple Street at Bayard Rustin Way in Allentown, PA 18101.
Elise 1:09:09
Thanks for tuning in to the Lehigh Valley arts podcast. Don't forget to like the podcast leave us a review and follow us on both social media and streaming services at Lehigh Valley Arts Podcast.
Transcribed by https://otter.ai