Martine Gutierrez, Demons, Xochiquetzal ‘Flower Quetzal Feather,’ p94, from Indigenous Woman, 2018. © Martine Gutierrez; Courtesy of the artist and RYAN LEE Gallery, New York.

Martine Gutierrez, Demons, Tlazoteotl ‘Eater of Filth,’ p91, from Indigenous Woman, 2018. © Martine Gutierrez; Courtesy of the artist and RYAN LEE Gallery, New York.

Frida Kahlo once said, “I am my own muse. I am the subject I know best.” It’s a sentiment that also eloquently describes Martine Gutierrez, a transgender Latinx artist who routinely performs the triple roles of subject, maker, and muse in her own eclectic body of work.

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By establishing a practice of full autonomy, wherein Gutierrez conceptualizes and executes every detail on both sides of the camera, the artist has taken complete control of her narrative. For her latest exhibition, Indigenous Woman, Gutierrez created a 146-page art publication (masquerading as a glossy fashion magazine) celebrating “Mayan Indian heritage, the navigation of contemporary indigeneity, and the ever-evolving self-image,” according to the artist’s “Letter From the Editor.”

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“I was driven to question how identity is formed, expressed, valued, and weighed as a woman, as a transwoman, as a Latinx woman, as a woman of indigenous descent, as a femme artist and maker? It is nearly impossible to arrive at any finite answers, but for me, this process of exploration is exquisitely life-affirming,” she writes.

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Gutierrez uses art to explore the intersections of gender, sexuality, race, and class as they inform her life experience. The Brooklyn-based artist uses costume, photography, and film to produce elaborate narrative scenes that combine pop culture tropes, sex dolls, mannequins, and self-portraiture to explore the ways in which identity, like art, is both a social construction and an authentic expression of self.

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Fashion editorials and beauty features with titles like Queer Rage, Masking, and Demons pepper the pages of Indigenous Woman, alongside advertisements for faux products like Blue Lagoon Morisco sunless bronzer, paired with the tagline “Brown is Beautiful.” Gutierrez subverts the traditional cisgender white male gaze while simultaneously raising questions about inclusivity, appropriation, and consumerism.

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While her exhibition is on view at Ryan Lee Gallery in New York, VICE caught up with Gutierrez to talk about her masterful interrogation of identity.

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Read the Full Story at VICE Online

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Martine Gutierrez, Masking, 24k Gold Mask, p46 from Indigenous Woman, 2018. © Martine Gutierrez; Courtesy of the artist and RYAN LEE Gallery, New York.

Martine Gutierrez, Masking, Green Grape Mask, p51 from Indigenous Woman, 2018. © Martine Gutierrez; Courtesy of the artist and RYAN LEE Gallery, New York.