Let’s Speak Loquaciously


“Loquacious” certainly isn’t a word you hear every day, so what exactly does it mean?

[loh-kwey-shuh s]. Adjective. Talking or tending to talk much or freely; talkative; chattering;babbling; garrulous: a loquacious dinner guest.

Lovely! Alejandro Guzman’s piece, Loquacious #2, is displayed here at Franconia. We may have to talk about it a bit loquaciously to get the scoop on what went into making it!


Describe your creative process.

My practice is as playful as it is deeply confrontational. Using commonplace materials, constructs painted, collaged wheeled structures in which I hide, acting as a kind of 4instigator in a given performance with other boxed-up artists, who roll around inside their own roughly constructed wheeled sculpture and interact with one another and audience members. Social frustration, class wars, and political undercurrents are awash within the sculptural performances. The work explores cultural and historical references from indigenous folklore and the history of colonialism to post-modernism. Evoking ritual, celebration, performance and baroque forms as the object functions as an aspect of my actions and as a sculptural installation. Focusing on the idea of Creative Misunderstandings through art.


How does your sculpture relate to your past work?

The project at Franconia, Loquacious #2, is a study of a static form that communicates everything and nothing, depending on whomever is in front of Loquacious #2. It’s truly up to the individual or group that a conversation, memory, or an idea may manifest.

Why did you propose your project to Franconia? What did the experience of working here offer?

A great artist, friend, and former Franconia Artist, Christopher Manzione suggested that I propose my ongoing Loquacious Family project to Franconia. Suggested that working on a large scale with new materials may assimilate new processes into my studies of art and community. I believe the experience of working in Franconia Sculpture Park definitely offered positive and negative aspects, which is crucial for growth as an artist.


Alejandro welding pieces of the sculpture together.


Where did you study and whom did you study with? How have those experiences influenced your own work?

In this country, everyone starts with college, residencies, etc., so I received an M.F.A. from the School of Visual Arts in New York, City, New York in 2009: a B.F.A. from the University of Colorado, in Boulder and attended Skowhegan School of Painting and Sculpture in Skowhegan, Maine in 2012. I also received a Workspace Residency from the Lower Manhattan Cultural Council from 2012-2013, held residency at Fine Arts Work Center, Provincetown, Massachusetts 2013-2014, New Roots Foundation, Antigua, Guatemala 2015, and MadArt Studio in Seattle, Washington. Those experiences just as Franconia Sculpture Park have influenced my work that I truly can only express them visually. It’s impossible for me to quantify how important these experiences are to understanding art and community to which all artists serve.


How did your time at Franconia compare to other residencies you’ve completed?

Most residencies have their respective specializations in education. At Franconia, it was fantastic to learn three different kinds of welding and to learn about different materials for outdoor sculptures as well as acquire hands-on experience with creating foundations and engineering for climate, flora and fauna, audiences, the natural lighting, space, form and the actual performance that takes place when approaching a large sculpture.



To read earlier installments of the FSP Spotlight Series showcasing our 2015 Fellowship artists click the artists’ names: Peter Lundberg, Foon Sham, Wendy Klemperer, Pete Driessen





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