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Inafa’maolek

Jerrold Dwayne Castro

Academy of Art UniversityGraduate School of Fine Art – Painting

Final Thesis Project4 December 2017, 1:00 pm

- To Make Good -

Inafa’maolek

Jerrold Dwayne CastroAcademy of Art University, Graduate School of Fine Art - Painting

Final Thesis Project

4 December 2017, 1:00 pm

- To Make Good -

Self-portrait

16in x 24in, Oil on Canvas

2016

TABLE OF CONTENTS

Autobiography ..…………………………………………………………………………………………………… 1

Resumé .………………………………………………………………………………………………………….. 2

Timeline………..………………………………………………………………………….………………………… 3

Thesis Abstract…………..…...……………………………...………………...……....………………………… 5

Thesis Project………..…...……………………………...………………...……....……………………………… 6

Thesis Paintings…...………...…...…………………………….…………………………………………............. 9

Influences.……………..……………………………..………………..…..…………………….......................... 32

Artist Statement…………………………………………..…..………………..…...……………………………... 37

Statement of Professional Goals….………………..………………..…...…………………….......................... 38

Special Thanks.……….………………..………………..…...……………………............................................ 39

1

Hafa Adai! As a native Chamorro, born

and raised on the pacific island of Guam, I

have a firm appreciation for my Chamorro

heritage. Although I struggle with my identity as

a Chamorro, my culture is what defines me and

is a big influence on what I want to convey with

my Art.

Born into a family of Artists, it was natural for

me to develop a passion for the Arts. I am

influenced by my uncles and aunts who have

distinguished careers in art education, fine arts,

and graphics design. Like them, I am pursuing

a career using my creativity and artistic skills,

but it is my ultimate goal to teach Art in higher

education.

Encouraged by my family to venture into the

world, I pursued my undergraduate degree

from the University of Washington. Upon

graduation in 2002, I received a commission in the United States Army and served my country in

various assignments within the continental United States, as well as overseas to include multiple

deployments in Iraq. My experience in the Army exposed me to different cultures across the world and

created an awareness to the uniqueness of my island culture.

Furthermore, I developed a level of understanding about the colonial influences within my native culture.

This knowledge piqued a new window of exploration. To this effect, my art has focused onto my identity as

a native Chamorro. With this consciousness, coupled with a solid foundation from my graduate studies at

the Academy of Art University, I seek to create works that highlight the impact of centuries of colonial

influences on the Chamorro culture. Ultimately, I want to bring awareness that colonialism still exists in this

modern day, and that its effects have an enormous impact on small unique cultures throughout the world.

AUTOBIOGRAPHY


Art Education:

2017 Masters in Fine Arts - Painting, Academy of Art University,

San Francisco, CA

2002 Bachelor of Arts, Interdisciplinary Visual Arts, University of Washington,

Seattle, WA

1998 Undergraduate Student, Fine Arts, University of Guam

Mangilao, GU

Professional Education:

2013 Graduate, Intermediate Level Education, Command and General Staff College,

Fort Leavenworth, KS

2007 Honor Graduate, Signal Captains Career Course, Fort Gordon, GA

2003 Honor Graduate, Kilbourne Leadership Award, Signal Officers Basic Course,

Fort Gordon, GA

2002 Distinguished Military Graduate, Reserve Officer Training Corps,

University of Washington, Seattle, WA

1999 Mechanized Infantry Qualification Course, Fort Lewis, WA

1998 Distinguished Honor Graduate, Basic Training and Advance Individual Training –

Infantry, Fort Benning, GA

Awards:

2017 Best Online Figurative Award, Spring Show, Academy of Art University,

San Francisco, CA

Selected Group Exhibitions:

2017 Guam Art Exhibit X, POW! WOW! Guam, Tumon, GU

(Curated by Joshua Agerstrand)

2017 Spring Show, Academy Art University San Francisco, CA

Features:

Marie Perez, “3 Talents to check out at GAX”, Pacific Daily News Article, 16 September 2017. 18-20.

Private Collections:

Venucito Borja; Jeffrey Buckner; Jeffrey Demming; Leland Fudge; Kyle Koga; Kyle & Andrea Lands;

Brian & Jeanne Raines; William Rittenhouse; Jonathan & Elin Williams; Robert Wodell

2

FALL 13 (15/63 credits)

-FA 600 Figure Studio

Zachary Zdrale

SPRING 14 (18/63 credits)

-FA 606 Still Life

Brandon Smith

SUMMER 14 (21/63 credits)

-FA 602 Head Drawing

Zachary Zdrale


-FA 622 Anatomy for Artists

Sean Connor


-FA 630 Color Theory

Jennifer Almodova


-FA 626 Chiaroscuro

Kevin Moore


-GLA 606 Crossing Boarders: Art and Culture in a Global Society

Teddy Goldsworthy-Hanner


-GLA 602 The Art & Ideology of the 20th Century

Andrea Jost

TIMELINE

3


-FA 655 Midpoint Thesis

Preparation

Zachary Zdrale


-FA 604 Figurative Painting

Kristan Le

-FA 801 Group Directed Studies:

Process and Thesis Development

Romanoos Mattonen


-FA 614 Contemporary Painting

Kevin Moore


Process and Thesis Development

Jesse Mangerson



Figurative Painting 1

Rachel Moseley


-FA 616 Portrait Painting

Warren Chang


Figure Painting 2

Romanoos Mattonen


-FA 644 Quick Studies

Michele Goodwin


Figure Painting 2

Zachary Zdrale



Figure Painting 1

Romanoos Mattonen


-GLA 612 Writing & Research for the

Master’s Student

T. Brendan Donahoe

-GLA 674 Professional Practices for

Fine Artists

Karen Chesna

*Expected Graduation May 20184

My thesis project consists of a series of figurative paintings that highlight the impact of colonialism

on the Chamorro culture. This body of work was created in a traditional manner using oils on canvas. I use

a subdued palette with consideration to mood in order to engage the viewer and facilitate an emotional

response that sympathizes with the subject matter. The use of symbolism, woven into the composition,

helps to illustrate the mix-match of colonial ideologies that assimilated into the Chamorro culture.

THESIS ABSTRACT

5

Background

Throughout history, Colonial expansion and ideologies have had a substantial impact on controlled

cultures all over the world. These ideals create a complex terrain that influence a population and change

their course of progression. My culture, the Chamorro culture, is no exception.

An in-depth study of the Chamorro culture shows a mix-match of practices, and behaviors, with

both intended and unintentional consequences from three centuries of colonial influence. The introduction

of Christianity, assertion of democratic values and practices, and the enlightened nature of the Euro-

American world exemplify the expansion of western ideals that forever changed the face of the Chamorro

culture.

The Chamorro culture today is a true hybrid of ideologies, systems, and traditions from its native

and colonizing cultures. My project, Inafa’maolek, which literally translates in my native language as “to

make good,” is my journey to find understanding of my cultural identity as a Chamorro. It reflects the impact

of centuries of colonial influences on the Chamorro culture, how the people continue to cope with the

pressures of these influences, and how they still manage to preserve important aspects of its native culture.

For this project, I use symbols of these influences that traverse the Chamorro cultural landscape,

hoping to engage in an informative conversation with the viewer about modern day colonialism, the

manifestation of its impacts on my culture, and address my personal issues with these consequences and

effects that were produced by centuries of colonial influences.

Evolution of the Creation Process

From my thesis proposal, I realized that I needed to come up with symbols that I will use to best

convey my ideas. I was warned by my thesis proposal committee to not use trite or cliché symbols. I found

that I need to better understand the history of the Chamorro people from pre-contact to present day status

in order to develop ideas that are deeper than what we see on the surface.

I spent the summer of 2015 on Guam gathering reference books and discussing my ideas with

family and friends. I learned a lot from reading multiple historical studies and engaging in various topics with

groups on social media platforms. Needless to say, there were a lot of strong opinions on what symbols

represent cultural influences that made lasting impacts on the Chamorro culture.

Through my research, I found several reccurring themes: (1) That the current political status of the

Chamorro people is a result of a stagnant desire for self-determination. (2) The voice of the Chamorro

people is continually being challenged by other ethnic populations residing throughout the Mariana Islands.

(3) There is conflict between colonial policy and cultural ideals that get in the way of moving the people

from the status quo. For instance, the United States military presence on the island is a continual target by

THESIS PROJECT

6

competing nations. Many believe that the presence of the military is the best way to defend the island.

Some believe that if there were no military presence and if the Chamorro people had control of their

sovereignty, then the people of Guam would no longer be in danger. (4) There is a recent surge within the

Chamorro community to rediscover, reclaim, and revitalize the Chamorro culture. The best illustrations of

these triumphant achievements are the reinvention of Chamorro chants and the incorporation of this

practice into public ceremonies. (5) Despite centuries of cultural influences, the Chamorro people continue

to thrive by assimilating colonial ideals into their culture, while preserving much of their native practices and

beliefs. This can be seen in the assimilation of religion, language, and food, while keeping much of the

values and belief that define the Chamorro culture.

I attempted to convert these findings into symbols that I could use in my paintings. I endeavored to

capture the emotions, strength, and vitality of the Chamorro people by adding visual elements of fractures,

movement, absent features, fading away of figures, and overt depictions of an emotion.

Using myself as the model for my paintings, I believe that I could make this project a more reflective

body of work that captures my identity as a native Chamorro. I feel that the struggles of the Chamorro

people are akin to my own struggles of understanding myself as a person, born and raised on an island, far

away from the governing powers, misunderstood by the rest of America, but instilled with values that

exemplify my culture. Using myself as the primary model for this body of work affirmed my journey to

understand my culture—and ultimately, making this entire project a self-portrait of my cultural identity.

I found a source of inspiration in my inability to speak my native language fluently. Naturally, I

looked to the Chamorro language to better understand meaning in common words and phrases, as well

as, in the emotion behind some familial names. I looked for ways to incorporate Chamorro words into actual

paintings using their meanings.

Process and Challenges

One of the biggest challenges that I encountered was trying to trust the process of sticking to my

self-prescribed methodology of creating a painting. I also had a difficult time deciding when to change my

process when required. At the time of my thesis proposal, I intended to create different types of studies as

part of the process from idea to fruition. In the end, I realized that I needed to be more efficient.

I tended to spend much of my time on drawings and color studies that did not help me get the most

out of exploring the medium. I saw the benefit in making studies, but the condensed timeline during the

semester was not conducive to the slow, methodical pace I required for a final painting. Additionally, I

recognized that the size difference between the studies and the final paintings conjured up different

problems that I did not foresee. I felt that I was doing more work with the smaller studies and running out of

time to work on the final painting. This frustrated me and made me fall behind throughout most of the

semester. After I produced a few large paintings, I started to anticipate where I could eliminate parts of my

process and where I could focus my efforts to produce my best work possible.

_______

7

I reduced the amount of studies to the point where I did not make any studies for my last several

paintings in this body of work. Instead, I used that time to create better reference photos. I believe that

this helped dividends since I was able to work out much of the design problems ahead of time. As a result,

I became more comfortable painting the final piece without producing any studies because my photo

references were more complete.

I decided that my process for creating this body of work needed to be fluid from start to finish. If

something in the process was not working or costing me too much time, I cut it out. I spent more time in a

particular part of the process if I found that it was crucial in creating a successful end product. I strived for

efficiency in order to complete my project on time.

In the end, I trusted the process to a certain extent. I believe that my established process provided

a level of structure that I needed to create each painting. Through idea generation, shooting and

developing reference photos, creating studies, and producing a final painting, I was able to be efficient in

my process and was effective in executing a satisfying result.

Closing Comment

In closing, I realize that this entire body of work, my journey through its process, and the resulting

final products helps me to understand my cultural identity as a Chamorro. I am continually inspired by the

Chamorro people and my beautiful island culture. I am at awe with how much the Chamorro people

endured and persevered through despite being subjected to so many centuries of colonial influences.

My hope is that this project informs the viewer that Colonialism is not an old-world idea—it exists

today—and, for better or for worse, that the United States is a major contributor to this fact. I hope that this

body of work will inspire others to become informed about the plight of the Chamorro people. If possible, I

hope it causes them to act on the behalf of the Chamorro people to assist in their endeavors.

These past two years working on my thesis project has been a journey studying my culture and

her past. As I approach the end of my academic studies, I am filled with hope for the future of the

Chamorro people's efforts in preserving, reclaiming, and redefining our culture.


8

THESIS PAINTINGS

9

Inafa’maolek- To Make Good -

10

Konsigi (Status Quo)Oil on Canvas 36 x 28 inches

11

This painting is about the struggle that I feel

about the political status of Guam. I believe that

the current political status perpetuates the

negative colonial influences inflicted onto the

Chamorro culture.

There are three choices for the Chamorro people

to pursue self determination: Free Association,

Independence, or Statehood. I chose to depict

each choice as a face on one Chamorro figure.

My goal is to show some form of struggle

between each political status option.

I want to express movement and a sense of instability in this painting. The totality of each state (all three

faces) that the figure resides shows the current state or "Status Quo," which is not a choice, is what most

Chamorro people have lived with their entire life and what most people think is an appropriate choice to make.

12

Mañetnot (Infected)Oil on Canvas 36 x 36 inches

13

Throughout the centuries, the coconut

palms have been an important resource

for the Chamorro people.

The recent infestation of the coconut

rhino beetles on the coconut palms is a

major issue that directly impacts the

Chamorro culture and the island of

Guam.

The depiction of an infestation of rhino

beetles on a Chamorro figure symbolizes

colonial cultural influences. These

influences, manifested as colonial

ideologies, impact the Chamorro culture

through conflicts between colonial and

native values. Many Chamorro feel empty-handed because of the current political status since most of the

rights expected from the administering power, the United States, are not granted.

14

Finatkilu (Silence)Oil on Canvas 48 x 36 inches

15

In this painting, I depict a figure with it's mouth non-existent and struggling to make an opening. My intention is

to symbolize that the Chamorro people have been denied a voice in both political status and in navigating the

culture without pressure from colonial influences.

This is a direct suggestion of the

Chamorro’s struggle to be heard in a

political system that is limiting their efforts to

pursue self-determination and affect the

direction of their culture and identity.

This type of symbolism is what I hope to

effectively communicate in my body of

work. The symbolism in this painting has

been the catalyst for my efforts to establish

a level of consistency in my body of work.

Completing this painting, finally help me

realize the overt symbolism I needed to

include in my work to complete this project.

16

Sinigun gi Silencio (Persevere in Silence)Oil on Canvas 48 x 48 inches

17

The concept of this painting is to show how the

Chamorro culture is disappearing.

For that reason, I depict a Chamorro figure

fading into smoke. Again, I have three heads

that represent the three choices for political self-

determination. The main figure's mouth is non-

existent to show its current political status—one

without a voice in the US Congress. I also want

the figure to look strong and defiant.

Despite the fact that all Chamorro on Guam are

American citizens, many Chamorro feel that

they do not have true, equal representation. This

is a theme that I plan on continuing throughout

this body of work. This implies that the

Chamorro people continue to thrive despite their

current political status.

18

Magof yu Yan Ti Mapedde (I am Good and Not Defeated)Oil on Canvas 48 x 36 inches

19

The figure is engulfed by a nest of

snakes. The snakes are a

metaphor for colonial influences.

It also symbolizes the endemic of

brown tree snakes—which, sadly,

is what most people only know

about Guam.

The brown tree snakes symbolize

the negative effects of colonialism

on the Chamorro culture. The

snakes have made its way to the

island sometime during or after

World War II, probably coming

from the Solomon Islands as they

are native to northeastern

Australia, eastern Indonesia, and

Melanesia.

With no natural predator onGuam, the snake population spread widely across the island decimating the native birds and wildlife

population—ultimately changing the culture of the Chamorro. There is a big effort to try to eliminate this

invasive species from the island, but the infestation does not seem to be slowing down. This effort is similar to

the struggles that the Chamorro face in preserving their native culture.

20

Yulang (Destroy)Oil on Canvas 48 x 36 inches

21

As I sought to find deeper meaning in my cultural

identity, I decided to look at the Chamorro language.

As a colonized Chamorro, I grew up only speaking the

English language, not by choice, but by necessity. My

grand parents speak our native language fluently.

Between my parents, only my father and step father

are proficient in speaking the Chamorro language.

Unfortunately, my native language was not passed

down to me. I struggle with this cultural deficiency, but

I am hopeful that it is not too late to learn and pass this

knowledge to my children.

I drew inspiration from the Chamorro word Yulang

(pronounced: zoo-lang) which translates to destroy,

break, and annihilate.

I depicted the Chamorro figure breaking apart into

pieces. This is a very simple and direct depiction of the

Chamorro culture after centuries of colonial rule. I

made the Chamorro figure look like he is fighting what he is going through. My intention is to show the

strength and determination of the Chamorro people despite centuries of colonial occupation and influences.

In this painting, I try to capture how the Chamorro people show resiliency in maintaining significant potions

of their culture despite centuries of colonial influences.

22

Ma cho’gue este para siha (They do this to themselves)Oil on Canvas 48 x 36 inches

23

I use the symbol of a Chamorro figure pulling the heart out of the coconut sprout. The coconut sprout

represents the future of the Chamorro culture. The physical act of the figure pulling the heart out is a

representation of the Chamorro self-inflicting the death of their culture.

To that point, I have decided to depict

the figure with his mouth nonexistent. I

want this to represent the fact that most

Chamorro on Guam cannot speak the

Chamorro language.

I believe that language is the heart of

any culture. I want to depict the simple

fact that the Chamorro who can speak

the native language fluently have made

a deliberate, or likely unconscious,

decision to not pass on the Chamorro

language to younger generations in

order to be successful in the current

dominating culture. The Chamorro have

been willing participants in creating this

predicament, but through necessity for

the survival of their culture, they have

continued down the path to assimilate

with the occupying culture and maybe

contribute to the death of their culture.Additionally, I have decided to show the figure fading into smoke to signify the disappearance of native,

cultural practices. I make meaningful symbolism like in this painting that progresses throughout the rest of this

project.

24

Kompatte (Divide)Oil on Canvas 36 x 36 inches

25

This painting is about the Chamorro concept of

"Kompatte" which means to divide up.

Growing up, my family and I would spend the entire night

spearfishing at our family beach. We would get so much

fish in one night—some would think we cleared out the

entire reef. We all shared the catch equally—not one will

be without a fish.

We also do the same division for any type of food,

whether hunting or gathering. It is about harmony

between all who take part of the work to bring food to the

community. In other words, it is about "Inafan’maolek".

I want to use this idea to represent the history of the

Chamorro people, how colonizing nations have broken

up the Mariana archipelago to be spoils between nations,

despite the fact that there have been no dividing lines

that existed between the Marianas.

Through physical control of the Mariana Islands by different nation states, familial ties have been separated.

Through the colonial policies by their administering governments, ancestral ties have been severed as a result.

26

Na’chetton’ (Pieced together)Oil on Canvas 36 x 48 inches

27

The idea for this painting of three figures help

to show the movements of a Chamorro Chant

known as O'Asaina, which translates to "Oh

Elders". This chant is commonly used to start

official ceremonies.

In my thesis project write-up, I mentioned that

Chamorro chants of today were reinvented by

modern Chamorro. These new practices are a

successful reclamation of Chamorro culture

from influences that have been effectively

eliminated by subjugating the Chamorro

through colonial policies, practices, and

influences.

These new customs and rituals have been

gathered and created by modern Chamorro

through discussion with and observation of

other Pacific Island cultures.

28

Mafgo’ (Fractured)Oil on Canvas 48 x 36 inches

29

Chamorro chants have not been passed down through generations. Centuries of colonial policies and

influences have done away with native cultural practices in order to assimilate the native population into the

occupying government administration and culture. In fact, most of these chants have been developed only

within the last two decades. Modern Chamorro have recreated them as an effort to reclaim culture from

these former influences.

I want to articulate in this particular painting

that although the Chamorro people have a

shattered culture, these new practices—the

chants and dances—are a result of the

Chamorro’s strength and determination to

bring about the reclamation of its culture.

I do not believe that these reinvented chants

and dances are bad, nor is this act of

reclamation for the Chamorro culture perfect,

but it is what the Chamorro have made from

pieces of the culture that was once

forbidden, forgotten, and lost through

colonial assimilation. It is a symbol of their

strength that demands admiration.

30

ARTISTIC INFLUENCES

32

I was born into a family of artists. Naturally, my

relatives continue to inspire and influence my passion

for Art.

My uncle and godfather, Ron Castro is one of the

most influential artists for me and has made an impact

in preparing me to pursue my career in the Arts.

His work is rooted in representing the Chamorro

culture. For this reason, I came to understand at a

very young age that showcasing elements of the

Chamorro culture within artwork is a way of preserving

and promoting our heritage and culture.

Master Folk Artists

Oil on Canvas, 3’ x 5’

His series, Tribute to Masters of Chamorro

Tradition, captures Chamorro craftsmen who

perpetuate the Chamorro culture through their

traditional vocations. This series helps me see the

importance of honoring our elders through my art

and, ultimately, it impresses upon me the

significance of promoting my culture through every

aspect of my life. His work continues to evolve. He

utilizes different mediums of art from photography,

painting, to sculpture. One theme remains constant

in his work, he continues to promote the Chamorro

culture. His versatility in art is what has inspired me

to pursue my undergraduate degree in

Interdisciplinary Visual Arts from the University of

Washington in Seattle.

I Talayeru, 1993


Release of a Vision, 1983


33

My uncle, Richard (Ric) Castro is another artist

who is an important mentor for me. He continues

to inspire me to create my best work possible. An

admired artist among the local art community, he

has exhibited work on Guam, within the United

States, and internationally.

A self-proclaimed abstract artist, he employs

elements of our culture within his work that

pushes the boundaries of more traditional

applications. He shows versatility by making both

abstract and representational work. His

Junglescapes series finds an exceptional balance

between abstract and representational elements

that one may discover in the jungles of Guam.

He brings a fresh and contemporary feel to the Art

community on Guam and proves to be one of the

most successful Chamorro artists of the day. His

abstract work is progressive and different—rarely

seen in the local art scene within the Mariana

Islands—but incorporating many familiar elements of

our Chamorro culture, such as pictographs and

symbols found around the island of Guam.

As a tenured professor at the University of Guam, he

is a big influence on why I want to pursue a career in

teaching Fine Art at a higher institution of learning.

Kinship, 1983

Oil on Canvas, 76” x 56”

Jinapsan Latte, 2008

Acrylic on Panel, 36” x 26”

34

The Problem We All Live With, 1964

Oil on Canvas, Norman Rockwell

Rachel with White Robe, 2011

Oil on Canvas, Ann Gale

Ann Gale’s Expressive Realist manner, methodical analysis

have influenced me from my early years during my

undergraduate studies.

Having graduated from University of Washington, I have

had the privilege to be taught by her in most of my figure

drawing and painting classes. She has an eye for accuracy

when analyzing the figure and a great down-to-earth way

of teaching. Her influences are Antonio Lopez Garcia,

Lucian Freud, Jenny Saville, and Rembrandt—all of whom

I like and admire as well.

I have always been inspired by Norman

Rockwell’s ability to make meaningful Social

commentary. Although he is primarily

considered an illustrator, Norman Rockwell

have produced many works that increased

awareness in social injustice and inspired

people to act for change. I admire his desire to

produce work that create awareness of

inequality between race and gender. Many ofhis work has even called for change and

tolerance across the world.

Jenny Saville’s Flesh tones are very inspiring.

The way she interprets the color within the

flesh completely amazes me. I aspire to see

the same colors in the figure and then hope to

have the confidence to place it on canvas the

way she does.

Reverse, 2011

Oil on Canvas, Jenny Saville

35

Rob Liberace’s articulation of the human anatomy is evidence that he is a true Master in our time. His

knowledge of the human form and his ability to make informed decisions when articulating the figure is truly

inspiring. I hope to create at this level someday.

Figure Throwing a Ball

Oil on Canvas, Robert Liberace

Yukon Waterfall, 1992

Oil on Canvas, Richard Schmid

One of my favorite artist of this day is Richard

Schmid. Undoubtedly, he is a modern master in

Design. His confident marks and skillful use of

medium brings a sense of wonderment and

excitement.

Looking at his work encourages me to master my

own tools. Schmid knows how to "put it all

together.“ Although his figurative work is

amazing, I especially love his still life, landscapes,

and seascapes. His work, although in the Alla

Prima technique is constructed with thoughtful skill

and analysis of his subject. I hope to bring that

level of understanding into my process and work.

Finally, I am inspired by Dino Valls’s use of symbolism

in his work. He allows the viewer to not only enter the

painting as his figures sit solidly in space, but they are

forced to look deeper into the meanings of his

painting. You want to understand what is going on in

his mind. What story is he trying to tell?

ARS MAGNA, 2010

Oil, Goldleaf/Wood, Dino Valls

I am also drawn to his

reference to religion in

his work, which is

something I am interested

in doing in my own. My

hope is that I am as

effective as Valls has

been with incorporating

symbolism into my art

while keeping a level of

mystery but not beingoverly complex.

36

Inafa’maolek is an exploratory body of work that looks at the colonial influences on the Chamorro

culture. It is my journey of self-discovery as I understand my identity as a colonized Chamorro man. These

works use the figure and symbolism to illustrate the Chamorro culture’s conformity to ideological influences

brought about by the effect of its colonial past. My ultimate aim is to produce a body of work that brings

awareness to these colonial influences, provide understanding of its current status, and evoke a level of

acceptance or bring about change to the situation in which my culture resides.

The title of this series literally translates in the Chamorro language as “To Make Good”. This phrase

encompasses the entire cultural attitude that everything and everyone has to be in harmony for the society

to remain functional. Everyone is connected and interdependent. Harmony among individuals and groups is

of primary importance. I believe that because of this core Chamorro value, it was natural for the Chamorro

people to adapt our culture and to adopt colonial practices from the colonizing countries.

As a native Chamorro born and raised on Guam, I draw from my experience living in an

environment subjected to centuries of colonial influences. This project highlights inferences to traditional

native practices and beliefs, as well as political symbols of our modern day colonial status. With the

increasing western influences, expanding diaspora, and the current political status of the island of Guam,

there is mounting frustration within the Chamorro population because of loss of language and forced

elimination of traditional practices and beliefs, as well as our second rate status as citizens of the colonizing

culture. I wanted to capture these feelings by incorporating them as symbolism into my paintings.

This series consists of single or multiple figures placed in symbolic poses and circumstance that

bring awareness to the Chamorro people’s desires for self-determination, efforts to reclaim lost practices,

and willingness to redefine our culture. I used myself as the main figure to exemplify my own struggles with

my cultural identity. My use of a restrained palette helps to generate a feeling of uneasiness, but draws out

sympathy towards the matter at hand: a people struggling with maintaining their culture despite encroaching

colonial influences.

Ultimately, Inafa’maolek provides an understanding about the colonial history of the Chamorro

people and calls attention to their difficult circumstance, but enduring desire to maintain a cohesive culture.

My intent for creating this series is to share knowledge about the current situation of my people, perpetuate

our story, and come to terms with or inspire a change to our present status. The entirety of this body of work

is a call for the Chamorro to find a sense of balance as we attempt to reclaim lost practices and redefine our

culture despite further assimilation into the colonizing culture.

ARTIST STATEMENT

37

My long term goals have always included teaching fine art at the university level. I truly believe that

one must teach in order to learn. I believe that my graduate studies at Academy of Art University will help

me achieve that goal as I continue to develop my personal artistic foundation and style.

I believe that a strong foundation in drawing and a thorough understanding of the subject are the keys

to a successful painting. I want to establish a strong foundation in my painting technique—to develop the

technique that works for me as I continue to progress as an artist. I hope to develop an eye for color

selection. I want to explore the figure as it sits in space. I want to capture the environment through the

understanding of the figure. How the figure fits in space is just as important to me as the quality of the mark

placed on canvas. Meanwhile, I want to capture the atmosphere that evokes an emotion in the viewer.

My undergraduate studies have allowed me to understand that painting is more than a process—it is a

progression. My graduate studies reemphasizes this point. To learn while tackling a particular challenge is

just as important to me as producing quality, substantial works.

Growing up in the culturally rich island of Guam, exploring aspects of my culture and communicating

that into my paintings is important to me. To that effect, my work centers around social issues stemming

from the colonial status of Guam. I want to continue this endeavor of bringing awareness of the Chamorro

story to the rest of America and the world. With the types of strong messages in my work, I hope to be

represented in galleries back home and abroad.

Currently, I am an Officer in the US Army because I love to lead soldiers. To develop the young leaders

in the Army is akin to a Professor of Art mentoring his students. When I am finished serving my country, I

plan on using my experience in mentoring soldiers to guide young, aspiring artists in developing their own

skills.

STATEMENT OF PROFESSIONAL GOALS

38

A very special and heartfelt thank you to My Love, my soul, my much better half. Without your continued

support of my passion and pursuit of life, I would not be able to accomplish all that I have done. You are my

inspiration, my muse, and my motivation to “make good” of my promise to love and cherish you for all time.

Hu guaiya hao, Asagua-hu.

I famagu’on-hu, to whom I dedicate this project. The future of the Chamorro culture belongs to you. I hope

that you see how special you are to be Chamorro. Reclaim our culture, redefine it, preserve it, and

remember that you belong to a strong, enduring, and loving people.

My parents, grand parents, god parents, aunts and uncles who have raised me to be the person I am today.

I firmly believe that artists are built by the people who support them. Throughout my life, I’ve been

encouraged to pursue this thing called Art. Your praises and love pushed me to accomplish all that I

achieved. I cannot thank you enough for giving me the spark that fueled my passion to explore the world

around me and recreate it in a way that tells my story. I guess all the art supplies that you gifted me when I

was little did not go to waste. A very special thank you to my Momma, Dad, and Pop! And Dad! I appreciate

you helping me with my Chamorro. Si Yu’us ma’asi yan hu guaiya todus hamyo i Familia-ku!

Mañe’lu-hu, for always having my back. I’ve learn so much from you all: Passion, Grit, Love, Personality,

Perspective, and the list goes on. Please know that you have made the most impact in my life— you made

me the type of man I am today. I hope you know that I always think of you all no matter how far we are

apart. And my primus (you are more like my brothers and sisters to me)! Thank you for all your support and

encouragement towards my pursuit in my passions! Especially si TJ for double-checking my Chamorro!

My professors and mentors, I truly appreciate your help and being a part in my creations. Without your

guidance and direction, I would not be able to bring my ideas to this level of clarity and effectiveness. I am

truly indebted to your teachings and wish you the very best in shaping the minds and lives of future artists.

To my friends who have become family. Those who served with me in the military and who inspired me with

their selfless devotion and love to this beautiful country. Thank you all for listening to me preach about my

culture and how backwards I think our democracy is when we continue these colonial practices. I wish

nothing more than to share the story of my people and our culture, in hopes that you can perpetuate our

story. Thank you and blessings to you and yours.

The Chamorro of Guahan yan Northern Mariana Islands. I am at awe with how much you’ve endured while

subjected to centuries of colonial control. Man figo’ i taotao Chamorro! Saina Ma’asi to all Chamorro who

continue to provide me the inspiration to continue my pursuit in telling our story. My hope is that we see past

our colonial perspectives and unite as one people. We are stronger when we are united. Tano’ para todu i

Chamorro!

Si Rotdu

Dånkolo’ na Saina Ma’asi -Special Thanks-

39

Dånkolo na Saina Ma’ase’

- Many Blessings -

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