Sep, 01, 2020
ArtistsCommunityPhxArtist Spotlight
Manny Burruel: In His Own Words
There’s something soulful about Manny Burruel. Perhaps it’s his consideration for and commitment to his community, his desire to honor it clearly evident in the ways he articulates his goals as an artist. Or perhaps it’s his unadorned introspection and the tender way he reflects on his past, the lives and stories of the most important figures in his life woven through his work. Burruel creates prints and more that are often autobiographical in nature and steeped in nostalgia, striving to trigger personal memories and connection with the viewer. As both an artist and volunteer arts leader, he is a man who cares, about his family, his art, his fellow artists, and, well, all of us really.
Currently an artist with XICO Arte y Cultura, a non-profit supporting Latinx and Indigenous artists, Burruel has exhibited work across Arizona and the Valley of the Sun since the 1990s at places like Tempe Center for the Arts, Arizona State University, Willo North Gallery, Sky Harbor Airport, Mucho Más Art Gallery, Eric Fischl Gallery, and Phoenix City Hall. His time as a member of Movimiento Artístico del Rio Salado (MARS) Artspace, a Chicano visual-arts cooperative, led to his inclusion in Contemporary Chicana and Chicano Art, published in 2002 by the Arizona State University Hispanic Research Center. We spoke with Burruel to learn more about his journey to becoming an artist and what’s inspiring him these days.
Here’s Manny Burruel, in his own words.
“Growing up in West Phoenix, I did not know anyone who ever went to art shows or art museums. For me, it is essential to make art accessible for people who grew up like me.”
Manny Burruel. Courtesy of the artist.
Phoenix Art Museum: Tell us about who you are. Where did you grow up, and what first inspired you to become an artist?
Manny Burruel: I was born in Navojoa, Mexico, and was adopted just weeks after. I was raised in West Phoenix and grew up in a Mexican-American family, and while that culture is very significant to my identity, I still feel separate from what is often considered cultural norms for Latinos in America. My parents were bilingual but only spoke English in our household; I assume it was because they grew up experiencing corporal punishment if they spoke Spanish at school. So, I can understand some Spanish, but I do not speak Spanish. Growing up, I was surrounded by Mexican culture, from art to food to music. I remember asking my mom why Dick and Sally (characters in a series of primary school books that taught children how to read) did not have tortillas and beans at dinner, since we had them every day.
One of my earliest memories is my mom asking me to draw during Mass, to keep me from looking backward in the pews. In grade school, I was shy, but I could draw Snoopy. That’s how I could fit in with everyone.
Although my mother encouraged my drawing skills, I do not remember taking any art classes in grade school, and I chose band over art in high school, though I did take drafting classes. Exploring colleges was not an option since my family never went to college and did not know about that experience. They knew I would most likely go to Arizona State University because they were season ticket holders to Sun Devil Football. My counselor at Carl Hayden High School never asked me what degree I wanted or what skills, like art, I had and loved. I graduated fifth in my class and attended ASU with a scholarship, choosing architecture as a degree program with no idea what that meant other than I liked drafting. I soon switched to an undeclared major and ultimately left school without a degree.
After taking drafting classes at Phoenix College, I became a draftsman for the Maricopa County Highway Department in my early 20s. I did not give any consideration to art as a career until my wife encouraged me to go back to school and take some art classes. I was feeling unfulfilled back then, and she wanted me to work toward something that would make me happy. I studied art at Glendale Community College and met people who were professional artists or aspired to be professional artists. They planted a seed in me. It wasn’t until I was in my 30s, though, that I even considered myself an artist. I did eventually earn my Bachelor’s and Master’s degrees from Grand Canyon University and Northern Arizona University, although those were related to my career in human resources, not art.
Manny Burruel, Legend City, 2017. Monosilksceen print. Courtesy of the artist.
PhxArt: As you were growing into your identity as an artist, what were some experiences that shaped your creative vision and thought process?
Burruel: When I was taking art classes at Glendale Community College, I had an assignment to attend the Scottsdale art walk and write a report. Even though I thought the art was amazing, I remember feeling very uncomfortable and unwelcome. I included that in my report, and my instructor suggested the downtown Phoenix art scene and specifically Movimiento Artístico del Rio Salado (MARS) Artspace.
The first time I attended an art reception at MARS was transformational. Everyone was joyful and friendly, and the food was similar to food at my family parties. But more than that, I saw art that reflected my culture. I then had a goal to be accepted into that co-op of artists and I became a member in 1995. From there, I learned what it meant to be a professional artist, with my fellow artists helping to inspire me. I remember so many of my extended family at my first art reception. For most of them, it was the first time they had been to an art gallery. Growing up in West Phoenix, I did not know anyone who ever went to art shows or art museums. If I thought about it at all, it was images of wealthy people drinking wine and eating cheese. For me, it is essential to make art accessible for people who grew up like me. I want people to feel comfortable when they come to my art receptions and exhibitions. I believe the nostalgia in my artwork is accessible to all people, even those who grew up without exposure to the professional art world.
Manny Burruel, A Little Sunlight, 2020 (created during quarantine). Collage on wood. Courtesy of the artist.
PhxArt: So you made art while working full-time in a non-art field. How did you manage you to maintain your creative energy?
Burruel: I, like most artists, could not live off my income selling art. Before I retired, it was challenging to have only evenings and weekends to create, and with so many other life responsibilities, I would often go through long periods of not making any art. Joining MARS and being part of a cooperative of artists helped me focus on what was important to me. It was motivating knowing that each year, I was going to have an art exhibition, and I also needed to make art for MARS group shows. That inspiration and obligation to my fellow artists demanded new work of me, and themed shows that I would never have considered stretched me artistically.
The key for me was putting into practice some concepts I learned by teaching the “7 Habits of Highly Effective People,” a course based on the book by Stephen R. Covey. I developed a personal mission statement that focused me and gave me a touchstone on who I wanted to be, what I wanted as my legacy. One line in my statement is, “I enjoy life and create art.” That is a vital part of who I am. Based on that, I plan every week with goals that make me better in each of my life roles, and one of those roles is an artist. I take a few minutes and think about what I can do that week to make me a better artist. Sometimes that is creating and sometimes it’s as basic as cleaning my studio.
Manny Burruel, Mom Liked the Sunshine, 2015. Monosilksceen print. Courtesy of the artist.
PhxArt: What are the media that you prefer to work in, and what are some things you’re currently working on?
Burruel: Printmaking is my primary medium, more specifically, monosilkscreen /serigraph printmaking, a type of screen-printing in which the artwork is painted directly onto a mesh silkscreen and transferred through the screen onto paper using a squeegee. The process typically requires some preliminary planning and drawing; however, once the process begins, the artist has only 15 minutes to complete the painting. The urgency contributes to some spontaneity that leads to amazing results.
Before the pandemic, I created an exhibition of prints featuring Phoenix landmarks. Like with the majority of my art, this show had a strong sense of nostalgia. Some landmarks are iconic to many Phoenicians, but some hold personal significance only for me, illustrating that each of us has unique perspectives on places that denote emotional milestones. Our personal landmarks can evoke wistfulness or joy. They are markers in our life.
It was wonderful to discuss with people at the exhibition the mutual memories of places that are part of our local, collective history. The show was presented at the Eric Fischl Gallery at Phoenix College, which led to an invitation to show the exhibition in the lobby of the Mayor’s office at Phoenix City Hall. The Helios Education Foundation purchased several pieces from the series to display in their new building currently under construction.
PhxArt: Who are your greatest artistic influences?
Burruel: I remember going to the National Gallery in Washington DC and seeing a Kandinsky painting and loving his explosions of color. When I was a member of MARS, I was exposed to Luis Jiménez and loved his drawing style. However, the most significant artistic influences have been my friends Frank Ybarra and Joe Ray, who are very successful Arizona artists. [Editor’s note: Joe Ray will be featured in an artist’s spotlight in the coming weeks.]
Manny Burruel, Swing and a Hit, 2020 (created during quarantine). Collage on wood. Courtesy of the artist.
PhxArt: What are some other projects or interests you’ve been able to focus on now that you’re retired?
Burruel: Even though I had a successful career as an HR professional for the County, State, and the City of Peoria, I always dreamed of being the director of like-minded people who are excited about contributing to an organization’s purpose. Now that I am retired, I am lucky to have found that opportunity as the gallery director of The Olney Gallery at Trinity Episcopal Cathedral on 1st Avenue and Washington. In this volunteer role, I am a part of a 10-member Visual Arts Ministry team at the cathedral. Our group coordinates all art exhibitions in the Olney Gallery for the coming year using an annual group-selection process. We install each show and facilitate First Friday receptions, which average about 200 visitors each month. During its history, the gallery has exhibited the work of well-known artists such as Merrill Mahaffey and Annie Lopez.
Curating our exhibitions is a joy for me, similar to creating art. Making decisions with consideration to content, color, and composition leads to the satisfaction of seeing how everything has come together as a cohesive and aesthetically pleasing show. My perspective as an artist allows me to empathize with the anxiety artists may feel about an exhibition of their work. My personal goal is to make sure every artist feels happy with all aspects of their experience showing at our gallery.
I’m also happy to say that a percentage of all sales from exhibitions allows the Visual Arts Ministry at Trinity Cathedral to support our local community in visual art-related endeavors. We have been able to provide art experiences for students at Garfield and Cesar Chavez elementary schools through our efforts.
PhxArt: What’s been your favorite exhibition shown in that space so far?
Burruel: One of my favorites was Borderlands. Valarie James and Antonia Gallegos created a sobering and poignant installation of objects left in the desert by people attempting to cross the Arizona-Mexico border. Letters, photos, clothing, and other personal possessions were left behind as families tried to escape poverty and violence. The exhibition also displayed stunning images by Krista Shyler and other photographers that featured wildlife and people who suffer the consequences of a border wall. They documented the impact of a human-made barrier that separates animals, plants, and people from access to water, food, and migratory routes, capturing the fragility of this ecosystem. The Olney Gallery often has art shows that express social commentary about our world.
Manny Burruel, Making Tamales, 2019. Monosilksceen print. Courtesy of the artist.
PhxArt: Throughout your time as a member of the Phoenix art community, how have you seen the Valley art world evolve?
Burruel: Back in the 1990s when I joined MARS, there wasn’t an organization like Artlink. Some artists had the foresight to create an annual event that was an open house of studios and galleries in Downtown Phoenix, and they called it Art Detour. The galleries in Downtown Phoenix were an alternative to those in Scottsdale. The event had a more bohemian atmosphere, with artists creating in old warehouses that were no longer in use. In those days, Downtown Phoenix was not a place people wanted to be in the evenings. Artists gave people a new cultural outlet in Phoenix and were the pioneers in revitalizing Downtown before it was even a goal for the city government. I believe Grand Avenue is functioning in a similar way now.
PhxArt: What’s some advice you’d give to a young artist in Phoenix who’s just starting out?
Burruel: Find and be with other artists—people who are just starting out like yourself and accomplished artists who you admire. You can do that by attending art openings (when the world is back to normal) and introducing yourself to the artists and asking them about their art. Every artist I know loves to share about their work and their processes. Most are very humble and eager to give advice to someone starting out. We all remember where we began and the things we have learned along the way. My art friends have supported, encouraged, and taught me so much about art and being a professional artist. While you have your courage up, you can also say hello to the gallery owners and ask them how someone can show at their gallery.
And it should go without saying—create, create, create. Submit your work to places to show, and be kind to yourself when you are not selected. This is when your art friends will be the most important because we have all experienced disappointment. Don’t stop trying—you will have success.
Manny Burruel, School Days, 2016. Monosilksceen print. Courtesy of the artist.
See more
To discover more or purchase work by Manny Burruel, visit mannysartgallery.com or contact XICO Arte y Cultura, a non-profit organization that promotes Latinx and Indigenous arts and culture.
#CreativeQuarantine
We’re curious how creatives are navigating the time of coronavirus. Manny Burruel shares what’s giving him life as a creative during quarantine.
Burruel: I’ve taken most of quarantine to try and learn new artistic endeavors. I have always admired our local muralists, so I’ve started to practice my hand at painting murals. In March, during spring break, I created a mural on the campus of Garfield Elementary School. Sadly, the kids never returned to school and have not seen it yet. I also created some landscape murals in my backyard and am assisting with and learning about creating mosaic murals with my friend and fellow artist Kris Kollasch, who is working on a public art project. (Don’t worry—we wore masks and practiced safe social distancing). Finally, I am creating some collage art using torn pieces of my prints that weren’t so successful.