Abstract
Dante Rodriguez is an American artist based in Cleveland who is dedicated to empowering others through his work as a public artist. His art combines abstract and graffiti styles to reflect various aspects of his Latino ethnicity, heritage, and culture. Rodriguez harnesses the power of representation, storytelling, social commentary, education, and “Brown pride” in his art to spark positive change and contribute to the transformation of the communities he engages with.
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Interviewee
Rodriguez, Dante (interviewee)
Interviewer
Kanewa-Mariano, Makialani (interviewer)
Project
Community-Based Public Art
Date
8-9-2024
Document Type
Oral History
Duration
53 minutes
Recommended Citation
"Dante Rodriguez interview, 09 August 2024" (2024). Cleveland Regional Oral History Collection. Interview 455005.
https://engagedscholarship.csuohio.edu/crohc000/1342
Transcript
Makialani Kanewa-Mariano [00:00:01] Today’s date is Friday, August 9, 2024. My name is Makialani Kanewa-Mariano, with the Cleveland Regional Oral History collection at Cleveland State University. Today I’ll be interviewing Dante Rodriguez. Thank you so much for meeting with me today, Dante.
Dante Rodriguez [00:00:14] Hey, the pleasure is mine. Thank you for inviting me.
Makialani Kanewa-Mariano [00:00:18] For the record, could you state and spell your name for me?
Dante Rodriguez [00:00:21] My name is Dante Rodriguez and spelling of my name is D-A-N-T-E R-O-D-R-I-G-U-E-Z, which there’s so many spellings of Dante, but that’s the correct spelling for my name.
Makialani Kanewa-Mariano [00:00:35] Where and when were you born?
Dante Rodriguez [00:00:37] I was born in 1978 in Ciudad, the city of, Urapan, Michoacan, in the country of Mexico.
Makialani Kanewa-Mariano [00:00:47] Where did you go to high school?
Dante Rodriguez [00:00:49] The high school I went to was called, doesn’t exist anymore, but it was a Lorain Southview High in Lorain, Ohio.
Makialani Kanewa-Mariano [00:00:58] And where did you go to college?
Dante Rodriguez [00:01:00] I went to– I went to community college, Lorain County Community College. And then I went on and got my bachelor’s at Cleveland State University.
Makialani Kanewa-Mariano [00:01:12] And what did you study in college? What was your major?
Dante Rodriguez [00:01:15] When I first got into college, I was going to get into social work. I was kind of social worker, become a nurse, which my mom was a nurse’s aide, and I thought I would get in that kind of field. But over time, I fell in love with making in art again. So my major was I got a studio art degree in drawing, which that was my first passion I loved. And it’s kind of cool that I was getting– I had a free scholarship and I felt like I was getting paid just to make art and learn.
Makialani Kanewa-Mariano [00:01:43] Do you primarily live in the Cleveland area now?
Dante Rodriguez [00:01:46] So temporarily I’m living in Lorain. I have my house in Cleveland Heights because it was close to work, but temporarily living in Lorain because my mother passed away last summer. You know, I just want to spend more time with my dad and help him out and everything like that. So this is a temporary situation while, you know, I figure out what’s my next move, maybe buy another house or, you know, we’ll see when my life goes. But, yeah, I’m in the Lorain right now.
Makialani Kanewa-Mariano [00:02:10] How did you end up in this area?
Dante Rodriguez [00:02:14] In Cleveland, I think it’s just school and work. I came to Cleveland state, and when I was in college, I wanted to work at the Cleveland Museum of Art. And I got a job in security started in 2000, and then over time I just lived in the Cleveland area from Lakewood, Tremont, Cleveland Heights. That’s pretty much the area in the region. But, yeah, I decided I like the city. A lot of culture, a lot more opportunity for artists from my hometown of Lorain. It’s much smaller. And plus, my work is there. The Cleveland Museum of Art.
Makialani Kanewa-Mariano [00:02:48] And so that’s your current occupation?
Dante Rodriguez [00:02:50] Yep. I’ve been with the Cleveland Museum of Art, gonna be almost 25 years. Yeah. And the work I do at the museum, I’m what they call a mount maker. I gotta clarify mount, because every time I bring that up, people don’t understand the work is that it’s a very specialized, specialized field. But, yeah, it’s a work. It’s– I’m a metal fabricator for the artwork in the collection that goes on display for exhibit. I make sure the objects are secured and they’re presented in a way that’s safe and very nice to experience and view the artwork for viewers.
Makialani Kanewa-Mariano [00:03:22] What year did you begin working as the mount maker?
Dante Rodriguez [00:03:26] I became a mount maker, I think it’s probably, like, 18 years ago. So probably about 2006. Okay? My math is not good right now, but, yeah, I’ve been doing it for about 18 years. But, yeah, actually, I didn’t know that job existed until I was there. And I seen my colleague, what he was doing, and I thought the work was very interesting. He got to work real closely with the collection, and I had a little bit of metalworking background, and that just led me to just learn. And he taught me. Pretty much became like an apprenticeship program, you know, like, just on his own. You know, he just taught me, and I just saw a lot of interest in it. And, yeah, I’ve been doing it for 18 years. It’s such a. It’s an interesting field because, again, there’s not many people that do that. And for me, I always like to tell people, I’m very proud to say I’m the first Latino to do that kind of work at the museum since it opened up in 1916.
Makialani Kanewa-Mariano [00:04:21] When did you first realize you had an interest in art?
Dante Rodriguez [00:04:24] I always did art since I was a kid. Yeah, I think my mom just saw it early on in me. I was always just on my own with a piece of paper, pencil, just drawing, doodling at the house. And my mother just kept encouraging me, always buying me art supplies, crayons, and I just did it for fun. And as time went on, I remember as I growing up, as a child going to school, actually, people were paying attention to me, and people were recognizing what I do is something that brings joy or just interest or curiosity of what I do and why I do what I do. And it just, I thought that was just interesting, but it was just a lot of fun just drawing. And at one time, people was, like, gave me money, like people were paying me. I remember, I think, like, in first or second grade, people actually gave me, like, dimes and nickels, which add up and used to buy me chips, snacks like that for lunch. But it was like I was selling my artwork at a young age, which I thought that was interesting.
Makialani Kanewa-Mariano [00:05:22] What was your original goal for yourself as an artist?
Dante Rodriguez [00:05:25] I mean, just like every, every artist dream just to be a full-time artist, just to be able to make a living off your art. A lot of us don’t want to, like, be– We don’t– You know, we’re realistic. We’re not going to try to be wealthy and rich, but just to make a basic living doing what we do and always want to give back and contribute to our community through art. We know it’s a luxury, but at the same time, we also record, you know, the stories, you know, in the city or our lives or other people’s lives, if it’s our own community, our culture, and, you know, it’s just very important. So I just know it’s something I always want to do. I wish I could do it full-time, but in reality, you got to have a day job as artists. So I tell people now, like, I got a full-time at the art museum, full-time job at the art museum, and I’m always around art, so I enjoy that. I get to focus on creativity and history and art history, but, yeah, it’s just something I enjoy. And hopefully in the future, I do become a full-time artist one day, maybe I retire from my job.
Makialani Kanewa-Mariano [00:06:28] So how have your missions or goals sort of expanded since you first began developing your skills in your, I think you originally said your major was drawing?
Dante Rodriguez [00:06:38] Yeah, yeah. I mean, so, yeah, I mean, when I was in school, drawing, because I just want to improve my skills, I really appreciated when somebody could draw really good. And my professor at the time was George Malzberger, and he was an amazing draftsman. And what was cool about him, he really taught me how to see and draw and document reality. But what I love about him, he did a lot of self portraits, and he was really, like, he turned the camera on himself, and he studied himself as material, as subject matter to make art. And I started doing the same thing and doing drawings, realistic drawings. But over time, I noticed, and I think it was probably my professors here, I took different art classes. Robert Thurmer, at the time, Marvin Jones, was a great printmaker, God rest his soul. And Ken Nevadomi, another great painter, also passed away last year, I think. But they really were influenced me as an artist to just further my ideas. Because at the end of the day, we all artists are trying to focus on trying to find our voice, would they say, and what we do, and to find our sense of self and our identity within our art. And that’s just like a slow progress. And over time, I noticed from a hyper-realistic artist to get more into the abstract space and kind of expand my ideas. What is art and what am I trying to communicate with my ideas? And I tap into all kinds of ideas. If it’s like certain stories, literature, or real life stories, that people inspires me to make art. And it could be realistic or abstract, but sometimes it ties into identity and ties about the human experience, human condition, and it’s about just to see things differently. And that’s why I hope as an artist just to grow and maybe try to be different, I guess.
Makialani Kanewa-Mariano [00:08:33] Who else contributes to your work? Do you collaborate with other artists, or do you work primarily alone?
Dante Rodriguez [00:08:39] For the most part, mostly by myself. That’s always, it’s always a challenge to work with other artists. I don’t know, is this my personality? Like, I like to have control or to be able to trust somebody with my ideas, or they could trust me with their ideas, but it’s mostly on my own. And plus, it’s just like a spiritual practice. Like, I start making art, whatever space I’m in becomes like a sacred space. It becomes a personal space. And as a way to just learn and just take that time of meditation, and it’s really like a ritual because sometimes when I start a work of art, I’ll have a vague idea, and then I’ll have a blank piece of paper or a blank canvas. And sometimes you just wait till, sometimes I call it the art spirit, kind of inspires you and motivates you to pick up whatever medium it is you want to express your ideas with. And so it’s a very personal, spiritual practice for me, and at the same time, it’s very healing. So it’d be really hard for me to, like, collaborate. I mean, I have collaborated on smaller projects with other people, but if it was community-based, that’s where it’s collaborative. But my own personal art, it’s always personal, private, you know, just like this. It’s– Yeah, just me, myself, and my art.
Makialani Kanewa-Mariano [00:09:52] So you mentioned some of your community-based art.
Dante Rodriguez [00:09:55] Yeah.
Makialani Kanewa-Mariano [00:09:55] How does that work engage public involvement?
Dante Rodriguez [00:09:59] You know, I started getting more into public art. I mean, I’ve done some projects. I mean, I think my first public art project I could think of was for the Puerto Rican Home in Lorain, Ohio. And, you know, somebody, a community member or the president at that time reached out that they wanted to do a mural. And I think this was probably, like, in 2008 or seven, and you always talked about it. And I was like, you know, I never had much experience with mural, making murals, but I always loved murals. I love public art, and I thought this would be a good opportunity. And I didn’t, like, charge any money because I have no experience. So I also had experience doing for companies inside, but I was like, outdoor art, public art. So when I did this big project, it was a collaboration with another fellow Latino artist named Orlando Cruz. And the idea was like, you know, representing the Puerto Rican flag, the American flag, and then in the center of the mural, the idea, this was based off the president. He had this idea, and I’m just trying to make his idea come to life. And he wanted El Morro, which was like the little fort that’s in Puerto Rico, in old San Juan, you know, back in the day during the Spanish-American War, but it’s a very iconic scene, so. But, you know, working with Orlando, he was like, he was doing the Morro and I was doing the flags. But I just loved it. I just love it. Working on a big scale, working outdoors. And it was work. It was physical, because sometimes when I work at home in the studio, it’s not as physical. So I kind of like that aspect, the labor aspect of public art, so. And, yeah, I think that’s probably made me want to get to public art or community-based work. And then after that, I had more opportunities, not as much, but a handful that I kind of really think it’s very. Became part of my identity as an artist, part of my repertoire, of the kind of work I like to keep doing as an artist as I keep growing.
Makialani Kanewa-Mariano [00:12:00] And you said that was in Lorain?
Dante Rodriguez [00:12:03] In Lorain, Ohio.
Makialani Kanewa-Mariano [00:12:03] Is it still up? Or is it?
Dante Rodriguez [00:12:04] No, unfortunately, the Puerto Rican Home closed down, and they tore down that building. It doesn’t exist anymore. So I do got some pictures of it, which is good. But yeah.
Makialani Kanewa-Mariano [00:12:12] In the community that you grew up in, were there any works of public art that you can remember?
Dante Rodriguez [00:12:20] You know, growing up, I mean, in Lorain, I don’t remember any, like, public art. I just remember graffiti tags and stuff, which– It was cool ’cause, I mean, I was a kid, we all like graffiti art, and I always had that association of being, like, a rebel or being, like, you know, counterculture, whatever, and– But I always liked graffiti art. I remember I never did any graffiti art in the public, but I used to have my little sketchbook, and I practiced doing some of the graffiti, but there was nothing that, like, I like. When I was younger, when I thought I was thinking about art, I was doing more, like, as a kid, was drawing cartoons, because that’s a lot. We was kids. We loved, like, you know, Bugs Bunny, Marvel, DC Comics, and that’s what we liked to do. And so it was more, I guess, the graphic novels. But over time, as I grew up and realized maybe the graffiti in a subconscious way, like, you know, the public space, seeing, like, your name real big in the public was kind of cool. And then I think later on, I just, I naturally just gravitated to public art, where I’m hoping that I really start focusing and learning how to get into that space more, spend more time in that space. Yeah.
Makialani Kanewa-Mariano [00:13:32] Did some of those– I know you mentioned the graffiti. Did some of those styles and themes influence the art that you make today?
Dante Rodriguez [00:13:41] The colors. Seeing graffiti and stuff like that, I mean, it’s abstract. You know, when you see graffiti in a very creative way, it just, you just see the basic lines, form and color, but the colors are always just very exuberant, very bright, very, I find it inspiring. But it’s just a lot of unique color combinations, so strong colors. And I think that that bonus in the design of the graffiti kind of helps me to try to be innovative and bold with the artwork I come up when I do something, and I think just graffiti, just how, you know, like, I love music. I was a hip hop ’o head. And just that culture, it just– It’s significant because it’s like, you know, it’s art from the hood that we grew up in. We was into that music and rap, and it just a whole scene. So in me, like, I always loved that kind of scene. The only thing I could do is visual art. But I never had the courage or whatever to go out there and do graffiti because I never felt confident. But I think in itself, that graffiti is just a strong visual identity that really encourages just to take risks, to really, just to, just to be, I don’t know, just try to be different and trying to put your stories in a way that, you know, that is unique. Because in that culture I grew up in, it’s like, you know, we all different. We all love to celebrate, you know, something different we could be and not be like anybody else and just to celebrate our creativity, because at the end, you know, we always wanna– Everybody wants to, you know, have their own shine and just stand out of the crowd, you know? You know, because we had a sense of pride in my Latino community or, and it was diverse, but we really liked, I think graffiti was really, in the way I’m, you know, thinking about it, it really did influence, you know, how I think about art making in a way, you know, really thinking about it, because it’s abstract, it’s colorful. The design is really very unique because the composition, it’s very striking. So, yeah, it’s a really interesting question to make me think about it on the spot. [laughs]
Makialani Kanewa-Mariano [00:15:54] When did you first collaborate with the LAND studio?
Dante Rodriguez [00:15:58] I think the first time I collaborated with LAND studio was probably in, I think it was probably, like, 2017, I think, or 2018. So they had, like– And I think they still have it, a restaurant, I think it’s called REBOL in Public Square. And in the back, the back of the building, there’s this. I think it’s called Cleveland Gallery or Wall Gallery, something at the back. But they have a big space where they have, like, a very long vinyl banner that I think it’s, like, 120 feet length and probably, like, 10 or 12 feet tall. So they invited artists just to come up with designs, which they’ll print it on these vinyl banners, and they rotate it, I think, three times a year. It’s up for, like, maybe two months. So I think Erin Guido, I don’t know how she got in touch with me. Again, like I was fortunate enough that I used to run an art gallery back in 2009 to 2011 called Wall Eye Art Gallery. And that was the way a couple of my friends and family, we kind of want to get immersed into the art community in Cleveland. So I got to meet a lot of people, and there’s a lot of people I haven’t met, but they met me or remember me, and I feel bad. I don’t remember the names, but Erin maybe through there, she just knew about me and just reached out to me and see if I could submit an idea. And, you know, and it was like, it was a great, great gig ’cause it’s like, you know, like, first they’re reaching out to me, and, like, here we have opportunity. Make some art, you make some money. But that was kind of, like, first time working with LAND studio. And I remember them when they were Cleveland Public Art. And I always liked the work to do it. I mean, that was kind of cool. There’s actually organization that’s actually raised money and dedicated to beautifying the space and giving opportunities for local artists to, to expand their work because, you know, public art is a challenge because it’s a bigger scale and it’s more intimidating in a way because, you know, it’s always gonna be on view. And so when you have more people seeing it, you probably have more people may be criticizing your work, and some artists might be sensitive to that. But, yeah, I think it’s, it’s really cool that we have that in the city of Cleveland.
Makialani Kanewa-Mariano [00:17:59] Did you do any other collaborations with LAND studio?
Dante Rodriguez [00:18:02] Oh, yeah, I did a mural in 2018, and it was in the Detroit Shoreway area or in the Gordon Square Arts District. And, yeah, I have a mural there. It’s La Ofrenda De Xochipilli. That’s the title of the piece. And it was cool because what I like about LAND studio, they really let the artists have creative license and what they’re going to make. And in that project, that was, like, the first, like, I can say, really major mural I did here in Cleveland. And, you know, we find a business or business that are open to let us artists to paint on their walls, and, you know, and then I collaborate with the businesses, the owners, and, you know, tell them about, you know, what they would like to see on the wall. And, you know, they’ll give me some ideas or a feeling or a vibe they want to create. And, you know, me, I’ll interpret that, but I still have free rein for how I create and interpret it. And it’s cool that, you know, they build that trust within, like, the business community and the artists. So I thought that was very interesting. But, yeah, so that was at the Astoria Cafe and Market on West 54th and Detroit. And, yeah, that was a fun experience ’cause it’s like, I got to, you know, I had to get a lift, and I did it myself. I should have hired help, but again, I like control [laughs], and I’d rather do it myself and just see what it takes. And, yeah, from primary laying out, drawing, and I think the project took me about two and a half weeks to finish the project from beginning to end. But in the meantime, when I was there, it was just beautiful, just out there painting. And people come by and talk to me. People in the community, kids, and just kids will sit there and do what I do and enjoying it. Hopefully I inspired future artists. But, yeah, then people ask about my idea because I come from a Latino background, so I always try to, I use Latino imagery in my artwork. And Xochipilli, he’s the Aztec god of art, beauty and poetry in Aztec mythology. And I just thought, like, okay, that’s the Gordon Square Arts District. That makes the most sense. And, yeah, so it is like an abstract, kind of godlike creator or person that comes down from the heavens, swooping down in the area, and gives them an offering, you know, of love and beauty. So, yeah, I really enjoyed that project, and I’m glad I had the opportunity to work with LAND again. I think, yeah, that’s probably the– I think I did two projects with LAND studio, and I had another project I did, like, a little art show they invited me to do in their gallery space, in their offices. But, yeah, they’re a really great organization that I’m glad that they’re here. They’re great resources, and, I mean, they’ve done a lot to help beautify Cleveland and connect artists. And I think ever since that, there’s other, you know, another organization called Graffiti Heart that really offer opportunities for public artists or muralists to, you know, get engaged in the public, making art and, you know, and get paid [laughs] because that’s the one thing, you know, growing up as an artist, everybody thinks that what we do is free. It’s like, oh, you’re enjoying what you do, so, you know, you don’t need to get paid. But no, it’s good that there’s organizations out there that are really trying to support artists in their career.
Makialani Kanewa-Mariano [00:21:26] Outside of the LAND studio, have you ever worked on other projects or collaborations with organizations or just in the community?
Dante Rodriguez [00:21:34] Within the community, yeah. So, like, so, like, more recently, I just started– I volunteered with a Puerto Rican parade and festival this year, and so I was gonna be like a chalk artist, do some chalking with the kids and everything. And then within one of the volunteer meetings, we had the DJ that was supposed to be there. He got sick. He didn’t get there, unfortunately. I hope he’s doing better now. But he had this idea he wanted to– There’s this well known door in Puerto Rico with the Puerto Rican flag and everything in San Juan. And he was showing me pictures like, man, this would be cool. We could have somebody paint a mural, and people could take pictures from it just to create, bring some more creativity and art to the festival. And, you know, when they asked me that, I was like, man, I haven’t made art in a while. I was like, man, I’ll do it. I got material that’s free. And so, yeah, so that was great, because I never always wanted to connect myself with the Puerto Rican community in Cleveland. I mean, I know a lot of Puerto Rican creatives and some people, but not the whole community in general. So I thought that was a great opportunity just to engage and get a sense of a lot of the Puerto Ricans here in the 216. And so it was a great festival. I did the mural that people could take pictures in the background or the backdrop, did a little bit of chalking. But who knows what this relationship I would do. I enjoy myself. I probably do it again next year. In the past, I worked with the Lorain Arts Council in Lorain as a small gallery, just grassroots, just trying to bring opportunity for artists to display their work in the city of Lorain, downtown Lorain. Also the Museum of Hispanic and Latino Cultures, which was– It was a small collection. Well, it’s not small. It had like 4000 objects, but it’s basically a traveling art collection. Guillermo Arriaga, who used to be a science teacher in the Lorain city schools, and he retired and he’s Mexican, his background. And he just had this idea to really educate kids and stuff about Latin America. So he was always collecting artifacts, artwork from all, you know, I think it’s 19 or 20, I don’t know how many Latin American countries, but all Latin American countries. Anything that relates to the culture or anything like that. And what he does, he goes to the different Lorain schools and does a presentation and do it through education, through art and artifacts, and just to educate. You know, at the end of day, some people are not– They struggle with reading and comprehending. But when you bring objects and stuff, you can understand it more and you could touch it to help to understand the stories of our culture. So I did that. I was on the board on that. And so that was a cool project. I think I was doing that for like a year. Again, this was probably 15–17 years ago. And then another group was Artistas Latinos Unidos, which was a startup, Cleveland Latino artists from dancers, painters, writers, singers, just trying to– A way to organize ourselves to bring different kind of program for the public, which the one big event that we put on, I think it’s like 20 years ago, was the Dia de los Muertos, and we had a parade and exhibition. And that was a really fun event. It was on the east side of Cleveland that we had it, which at that time, I didn’t realize there were many Latinos on the east side of Cleveland. All the Latinos I know was usually on the west side. But it was a great opportunity that, you know, these organizations, like, it’s kind of do it yourself. I mean, Cleveland always had the attitude of do it yourself. And, you know, the artists I’ve met through that, these organizations which has been great. And just like, you know, nobody’s going to do it for us. We just do it ourselves. And we’ll create, we’ll create an event and get people engaged and to, you know, to appreciate our culture but also to people understand the culture. Because there’s a lot of Latinos that struggle, you know, some of the visual art history that come from Puerto Rico, Mexico, and other Latin American countries, they just don’t teach that in classes or in schools here. So those are pretty much organizations I had experience with outside of LAND studio.
Makialani Kanewa-Mariano [00:25:37] So, I know you touched on a little bit how your cultural racial identity is represented throughout your work. Why do you think creating art in public spaces, that helps the community grow?
Dante Rodriguez [00:25:50] Yeah, I mean, I think it’ll grow awareness, but especially, like, in the Latino community, like, you know, it’s all about representation. And if you make artwork that, you know, is a little bit about their stories or their mythology or literature or, you know, people in history that contributed to, you know, to society, it’s like, as artists, if it’s like a portrait of, you know, like, Cesar Chavez or famous artist or anything, but just to, like, know, like, hey, these are people of us that they made something of themselves through their art or just their hard work or their activists, something to make change and, you know, defend the rights of Latinos and stuff like that. So it just brings education, awareness, and a sense of pride. I mean, the Chicano artists of the West, California, or, you know, New Mexico, Texas, all that, they have a strong identity when it comes to art, visual culture with the murals, I mean, that’s where I fell in love with murals. Just when I traveled with my family to California and just seeing all these amazing murals from, like, the sixties and seventies and, you know, just your Brown and Brown pride is just amazing, just all over the place. But I look at it like, you know, back in the day, you know, the Renaissance artists from, like, Europe and everything, they always illustrated the Bible as a way because a lot of people couldn’t read. And so visual arts, you kind of like, okay, oh, that’s so and so. That’s the holy family or that’s that story in the Bible. So us, how can we illustrate our story? So, you know, us artists from the Latino community, it just shows education gives a sense of representation, sense like, you know, we belong here. There’s our stories and just want to be respected for our contributions. So art is, in a way, is a messenger and a medium for those ideas.
Makialani Kanewa-Mariano [00:27:30] I like how you said messenger for those ideas.
Dante Rodriguez [00:27:32] Sure.
Makialani Kanewa-Mariano [00:27:33] How does your art, then, create connections between you, the artist, and to the specific community that you are primarily trying to get the art into?
Dante Rodriguez [00:27:44] Yeah, yeah. Can you rephrase that question again? I’m trying to look at it, too, because I was looking at that question earlier, and I was like mmm.
Makialani Kanewa-Mariano [00:27:55] No, yeah. Are your own interactions with your community then represented in the works that you produce?
Dante Rodriguez [00:27:58] Yeah, I mean, me personally, so I know I did a mural recently, and on the west side off of West 25th Street, Myers Community Pool. And so, like, when I had these projects given to me, and I forgot which organization, I think LAND was a consultant with that project, but I think it was the money– I don’t remember where the grant was from, but that’s where they did a lot of murals over there in the Metro Health district. I don’t know what that area neighborhood’s called, but I think it was the West 25th neighborhood, Clark and Fulton neighborhood. But, yeah, I just think that that was the first time, like, I didn’t get a chance to have, like, a public forum, have people, like, share their ideas. But my friend who invited me to be the artist there, and I’d had time, she had, like, a little public forum. She had, like, a community meeting, and people were just sharing ideas, like, what they would like to see, that the mural or the artwork be like, to represent their ideas. I wish I was there to communicate with them, but nevertheless, they share with their, you know, what they like to see, and reading all their feedback and response, that itself really fed the design. Like, you know, so, okay, I’m just a medium, so, okay, they’re giving me an idea. So I’m like, okay, I’m gonna try to fuse what I do, what I believe in, and what they like to see. And hopefully, you know, when I present it to the committee, that, you know, it’s just fitting, and, you know, everybody loved it. And I just recently got a feedback from a teacher there. Her name’s Rosa, and I was telling her that, you know, yeah, she teaches at the Lincoln West. I forgot the name of the education program, but she was just telling me that, you know, yeah, we love that you did that artwork there? I was like, yeah. And she’s like, oh, man, people love it. Love the color. I was like, really? Because, you know, I’m not in that neighborhood, so it was good to hear something that people enjoy it, so. But it was– That was the only time I could say, like, you know, collaborating or connecting with the community that, you know, us artists could, like, you know, sometimes if you come to a neighborhood, you’re not familiar with it. I mean, it’s best to, like, really, you know, just engage some people. Like, hey, I’m an artist. I’m gonna do this, and I’m thinking about this. How do you feel about it? Cause you’re gonna be seeing it every day. You’re gonna wake up to it. So you wanna make sure whatever you put up there reflects their ideas, their beliefs, and then they just try to make something positive and beautiful, you know. I know when it comes to street art, public art, sometimes it gets a little political. I try to stay away from that because it could get a little contentious. At the end of the day, it’s like, you know what? I want to just represent humanity and the beauty of what we are, because that’s more universal, instead of trying to be specific about politics and stuff like that. So I just love to, just to connect to as many people as possible, and hopefully that I could just honor their ideas and their wishes in their neighborhood of what they like to see in the public space.
Makialani Kanewa-Mariano [00:30:47] What was the title of that work that you did in the Clark and Fulton area?
Dante Rodriguez [00:30:52] Actually, I think I never gave it a title. It’s just the Myers Community Pool mural because it was more abstract. The people were giving me more feedback because everybody was like– They wanted this kind of graffiti-esque vibe that represented different Latino cultures. So it was like diversity, little bit of hip hop colors. So it was like these very specific and general ideas, and it made it easy to come up with designs. So it’s a very abstract explosion of colors. But there’s- The way I design stuff has a little bit like these bubble letters or kind of graffiti-esque design to it, so. But, yeah, so they fed my idea. and that was the medium, and, yeah, it just. I think it worked out great. And I’m glad to hear that I got some feedback that it did. That it was successful.
Makialani Kanewa-Mariano [00:31:43] And that’s still up for the public to go view?
Dante Rodriguez [00:31:45] Oh, yeah, I think it’s up. I don’t remember if the contract is like, it has to be up for, like, five. Usually when you do these projects, they’re like a guarantee, five years. And then sometimes they have another artist come and do something like that. But, yeah, this might be up for a while. So, I mean, unless, I don’t know, unless somebody comes with money or funding, they’re like, you know? We want something else, and that’s how we know money will change things. [laughs]
Makialani Kanewa-Mariano [00:32:12] Did you ever do work for institutions or any schools or the school you went to?
Dante Rodriguez [00:32:18] Yeah. So just recently, I was just awarded in 2021, the 1% program to do a commission for Cleveland State University and it’s actually in Berkman Hall right now on the second floor. And that was actually a cool experience. That was during the pandemic. I had, I can’t remember her name, Katherine? Is that her? Katherine? I’m sorry, I’m bad with names. But from the Ohio Arts Council, they reached out to me, and somebody suggested me to submit a proposal for this 1% program that CSU is looking for a new work of art, a public work of art. And they just say, hey, would you like to submit a proposal? I’m like, wait, you just come out of the blue, and you’re like, yeah, we’ll pay you, like, $1,000. I’m like, what? Like, okay, you paying me to submit a proposal? Okay, that’s what’s up. And that was actually the first kind of, like, real big project, because the funding is really large, the grant, and plus they have, like, a committee, and it’s like, you have to present. While I worked with LAND studio, it was like working with just one person. You just give them, and then they’ll let me, yay or nay. This one, I have to– They have to see me present and what I’m going to do for the site. So that was a really professional experience for me. But it was too bad, because, like, they gave me this money. It’s like, I’m gonna create something cool, unique. And I came up with a prototype. I wish, you know, it was in person ’cause they could feel, you know, it’s like. It’s like a texture textile piece, and you can see what the colors are, and, you know, I’m trying to relate because, you know, doing it virtually, I was worried about that. It was like, man, that might hurt my idea, because it’s just like, it’s really– You have to experience it in person. But that was so much fun, because I got to research a little bit about Cleveland State and trying to come up with ideas and its site specific. And I remember reading a website or somewhere in the website that, like, I think was Rhodes, Fenn Tower was the first building or school here in Cleveland State, and they were calling it, because it was one of the tallest building in Cleveland, and there was a saying in there. They call it what? They call it, like, you know, representing a higher education, something in the clouds, education in the clouds? Oh, my God. I can’t believe I forgot that. I’m have to look it up. But there was something referencing with elevation higher education. But the imagery of clouds was in it. So clouds was like, okay, I can work with clouds to help feed my idea. Over time, the idea became more like about the students, how we, as students, travel in clusters and then separated in groups. It made me think about the concept of murmurations. It’s when the birds are on flight and they communicate together, and you see these beautiful patterns, abstract patterns out in the country, when you see that of these starlings just flying in space and just, you know, I always find that as a beautiful design. So, you know, from clouds to murmurations. So I thought the whole process and how to communicate an idea that can represent site specific, but also represent myself as an abstract artist, because I consider myself more of an abstract artist now, and I got to experiment, make new works of art that was actually different and innovative for me. And it was like, it took me about a year and a half of creating a project to installation. And that was an amazing experience. And that was because the 1%, I feel I grew so much more as an artist. It helped me to better present your idea in a committee, and that’s one thing. As artists, we don’t have much experience. Like to. How to, oh, shoot. How do you submit a proposal? How do you make sure you communicate your idea? Artists don’t get that. You know, it’s like, you think to go apply for a grant and everything, it’s very challenging. We’re not educated on enough of that. We just don’t have enough opportunities. The ones who do it, they just are good at it. And that’s why sometimes there’s a lot of public artists, they keep getting the same grants or getting some other, because they just have good experience. A lot of us that, you know, people just take a chance of us. And, like, for me, I’ve been given a lot of opportunities, and I’m trying to educate other artists about the whole process, what they need to do. How do you affect, effectively communicate visually your idea and then how to be more organized with your idea? So I love that aspect from what I learned to share to other people. And hopefully they have the opportunity to get involved in making public art, because, I mean, I think a lot of artists would love to make public art. I mean, they’re just intimidated because, again, it’s a large scale. But once you make your first one and you’re out there in the neighborhoods making art and connecting with people, it’s such a positive, memorable experience that you’ll take that to, you know, you’ll take it to the grave and like, man, wow, I did that. And, you know, people just really appreciate and what you brought to the community. So, yeah, you just feel more appreciated because sometimes when you’re like an artist working in a studio, you know, nobody gonna really appreciate just you by yourself. And then you go to the, to have an exhibition, you know, sell work of art. People are not saying nothing. And then it’s like, you know, they don’t understand the whole process making art. But when you do public art, people come in like, you just come in like a big blank canvas and people see the artist from beginning to end. And like, all that labor of love and all that energy put into a public work of art, they see that. And that’s what I think I love about that. The process is right there on display, and the people really start appreciating, like, damn. Like, well, that’s a lot of work you did there. And plus, they get to learn, like, you know, some kids are interested in are like, wow, like, oh, that’s how you scale that. Or that’s, you know, seeing the techniques of what we do to present these ideas. So, yeah, it’s very educational. You know, it’s real life, you know, right there. And I think that’s really cool.
Makialani Kanewa-Mariano [00:37:44] Besides the Berkman Hall mural at Cleveland State University and your mural at the Clark and Fulton neighborhood, is there anywhere else in the community where the public can go and encounter some of your works?
Dante Rodriguez [00:37:59] No, that’s pretty much– I mean, my mural is still up in the Gordon Square Arts District at the Astoria Cafe and Market. Yeah. Like, yeah, that’s only three works in the public space right now that I have. And sometimes I’ll have exhibitions here or there. But I’m definitely going to try to push myself to really get into more public art. And what’s cool about it, because to be in public art, you know, people so focus on, like, in their city and stuff like that. But there’s actually grants in other states, national, international grants. They’re looking for artists from all over the world, and you just have to build up your portfolio. I know, you know, a friend of mine, Bob Peck, he’s really well known in the community. I mean, this guy, he was doing murals for free. He just went to businesses like, hey, can I paint this mural and stuff? And, you know, that’s just, I mean, it’s a sacrifice on his end. Like, materials and everything, but they just need a space. But over time, it builds his skill. He knows how to communicate, organize his business, and just know what to do. Conduct yourself as a professional. And then eventually he’s starting to get, you know, he’s starting to get paid as a muralist, you know, so it’s like, we do a lot of free work, but in return we get the education, you know, like, okay, how can I become more professional and how to– How do I have this idea and make sure I execute the idea? Because at the end of the day, you just gotta, you know, when you have these grants, you just gotta show them, like, that you can execute this idea. We’re gonna give you this money, which I make sure you’re responsible, make sure you do what you say you’re gonna do, and that’s it. But, yeah, so I had the experience that I know that there’s some projects I probably, you know, I won’t take on, but I feel confident from my experience and knowledge that I could probably do a lot of different things. I still want to go, you know, do more– I’d like to get more into, like, 3D sculpture probably in the future, but that requires a big studio. [laughs] While, you know, murals at little, like, you just work on site, but, yeah, it’s. Yeah.
Makialani Kanewa-Mariano [00:39:59] I know you kind of already answered this question in one of the others. But what advice would you give to artists who wish to design creative spaces in their own communities through public art?
Dante Rodriguez [00:40:08] I mean, for, like, far as I could say, you just got to keep working. Make sure that you’re passionate and dedicated to being an artist or being creative. It’s all labor of love. You don’t get appreciated. People– It’s easy to be overlooked. I mean, once you make the artwork and present it to people, yeah, they like what you do, but at the same time, just keep doing what you’re doing and keep networking, keep meeting new people, because eventually you will, people will start recognizing you. You know, it’s just, you know, through time and just, it’s just bound to happen. Like, for me, I didn’t think my art career, like, you know, from, you know, deciding to go to school or study art and doing all the shows and stuff, I just kept doing what I did because I loved it. I’m learning, I’m growing, and I started meeting people. And then eventually, like, man, like, you know, people are seeking me out and paying me, you know, a nice, a nice sum just to, to make art. And I have to store it. I can show it, it’s always visible. I’m like, man, that’s really beautiful. But, yeah, I just think if you go into public art space, basically you just gotta keep, just keep working, networking, trying to make as many connections you have, because eventually somebody will recognize you, somebody will remember you, and somebody will see you, and people really appreciate you, and they’ll offer opportunities for you, and hopefully it’s something that one day we all dream of to make a living off our art, our creativity, full-time. But, yeah, just keep working. [laughs]
Makialani Kanewa-Mariano [00:41:45] Is there anything else you want to add before you wrap up the interview? Any kind of thoughts, experiences, or–[inaudible]?
Dante Rodriguez [00:41:52] I think one experience was really cool for me. So when I was in CSU, I thought I was going to become an art teacher, too. And when I was in the CSU art program, and I was starting taking class to become an art teacher, and I just realized, you know, I couldn’t become an art teacher because it’s like, you know, there’s a curriculum they teach you, and you got to follow. And I’m just so rebellious. I like, you know what? Nobody’s going to tell me what to do. I won’t– Art. You can’t put art in a box. It’s all, you know, it’s free creativity. It’s freedom. I always tell people art is freedom. It’s, like, the only true space that we really. To be free with our ideas, and. And you just have to have the courage to express it. But– But I did after. So I always wanted, like, you know, be, you know, educate other kids, inspire kids to, like, to make art, because– So I had this one experience. There used to be this club on the, social club on the west side called Club Azteca. They tore it– I said, you know, they’ve been gentrifying that area. They tore it down probably, like, three or four years ago. But I had the opportunity I wanted get connected with the Mexican community, and I went there to social Club Azteca, and I joined their board member, a committee member, and I just remember their like bylaws that they want to represent culture and everything and art. And I just saw they talk about art, like, I want to contribute to your social club. And I was like, would they be open to let me do, like, art class for kids, you know, the members or just, you know, in the Mexican Latino community? And that it was all my idea and everything. I just wanted to give back and everything. And so it was me and my ex-wife at the time, Linda, and we just, you know, I created, like, I think it was, like, four Saturdays, maybe it was a month, month and a half, where I just basically just for, like, 3 hours, you know, I think from twelve to three, we’re like, you know, 20 minutes break that, you know, parents could come. I was hoping the parents stayed with the kids, but a lot of parents just dropped out kids like, hey, you know what? You got somebody to watch the kids. And I’m like, man, y’all trust me with your kid. Like, this is crazy. But they– So I– What I learned from being, you know, doing that art education class, like, you know, at the beginning, it was really– I never– I’m not– I’m not a good educator or instructor, but I learned just like, okay, how to communicate with these kids, how to, you know, give them the tools and ideas, how to draw and the instructions and all that. And it took me maybe two classes to get more comfortable. But what I saw, though, at the beginning of class, a lot of kids were, like, very quiet, shy, intimidated, because they know people told you, like, oh, I can’t make art. I’m not good a drawer. And we’re kind of negative, but, you know, you have somebody who believes in you, and I believe in all these kids. Like, yeah, you just gotta, you know, just believe yourself and just give time. You can make mistakes. There’s no, there’s no mistakes in making art. But I noticed once I got to, like, the final project we did, you know, from drawing, coloring, I post all the time, and maybe I didn’t do much painting. Oh, collaging. So when we got to collaging, that was a fascinating experience. Cause these kids that were shy in the beginning, and then we, like, okay, I got all these magazines. We got scissors and glue. So we’re gonna do collage and tell them, like, how to, you know, tell a story. Collaging. But what’s interesting is the kids who feel they can’t draw, but they know how to tell a story. They love to communicate. Kids, if you just listen to them, man, they just open up. And then with scissors and pictures and images, they’re glint. They were so involved in the activity. They were so focused. Like, they just felt confident, okay, I could do this. I don’t have to, like, struggle how to draw a circle, whatever. And they’re, like, not happy. They toss their drawings, don’t like it, throw it away. But collaging. And I just saw these kids from four weeks ago. They were just, like, just opening up. Like, they build that self esteem, like, being positive, and. And they were so excited to share their work at the end of the class, like, hey, everybody, let’s show and tell. Tell me what you made. I was just blown away, like, in a month that I thought I couldn’t connect with these kids, and a month later, these kids were just so loving, kind, and just sharing their stories, and I’m like, I’m over thinking, like, I’m gonna steal that idea. That’s a pretty good idea. I love that. But I was just so amazed by that, like, that transformation the art gives, you know, when, you know, you just saw a little bit of time, a little bit of love, a little bit of art materials, and I just thought the whole experience was magical. And for me, it was like, damn, maybe I should get back into, you know, become an art teacher. I didn’t. And, I mean, I’m still at the art museum, but I just thought that was a very beautiful personal experience that I experienced that I will take to the grave. Like, I. Like, I made a positive change in a kid. Yeah. So it’s– That’s, that’s one thing I definitely wanted to share, that it was something I really enjoyed, and, you know, it was out of my. It was a labor of love. I paid for everything. I actually brought, like, snacks, like, you know, like, fruit, organic juice, good, healthy vegetables, like, good, healthy snacks for these kids. But it was just something. And all they do, had to do was just show up. And that’s one thing I know. Me being an artist, and a lot of artists, we’re just. And just, like, teachers, you know, we’re so generous because we just want to, you know, just be a positive influence and like to give back. So that was. That was really cool.
Makialani Kanewa-Mariano [00:47:00] Well, if there’s nothing else you want to add at the end of that?
Dante Rodriguez [00:47:03] Yeah, no, yeah. I just, I just want to say thank you for, like, you know, just want to record my experiences as a public artist here in the city of Cleveland. And that, you know, for me, it’s like, I’m still learning. You know, like, in the art community or in the art industry, there’s different statuses. You’re emerging artist, you’re an established artist, or, I don’t know, this may be some other class status, whatever, but I just tell people I’m just an emerging artist. I’ve been doing art for 20 plus years. I’ve been college educated, but the best education I always gave myself is actually just really engaging with other people, engaging with other artists, and just be always open to new ideas. Challenge yourself. I didn’t think, you know, to be honest, I didn’t think I was gonna still be making– I still love make art, but I still be to a point that, you know, people on a big, large public scale, like, really recognize me. Like, people, like, I be– You know, people put me, like, on TV or they interview me, and I, like, man, like, I had a friend, or actually my girlfriend, she googled me the other day, which is mad. And she was just like, I had to google you. And she’s like, know who I was. But, like, wow. Like, you know, you’re like, like, somebody important in Cleveland. I was like, I don’t see myself as important people. I just know that I do art. I love what I do. And other people just recognize it, and they just, like, you know, just want to just give you opportunity. Like, hey, share your story. And all I did was just make art do something I love. And I thought that was, like, really cool. And I just believe when you’re passionate about something, you know, yeah, you’ll just shine, and other people won’t just, like, you know, just put the spotlight on you and just like, hey, you know, we like what you do. Please tell us your story. And I thought that was, like, really cool.
Makialani Kanewa-Mariano [00:48:50] Have you ever worked on other projects or collaborations outside of the Cleveland area?
Dante Rodriguez [00:48:54] Yeah. Back in, like, about 2017, I was reached out by an assistant professor of department of sociology named Victor Espinoza, and he was talking about a project that he’s collaborating with the University of Notre Dame and Segura Art Studio. And it was out in Indiana, and they were trying to look organize Latino artists in the Midwest. That’s the region they were focusing on. And they felt that we have a unique, maybe aesthetic or contribution to the history of American artists, but also to the Latin American artists in our country. And so they invite us. I was part of it. My ex wife was a part of it, and some other friends from Ohio and some of the people from maybe Chicago or something. I think it was, like, six or seven of us, an artist residency where we made some printmaking, and, like, hey, you’re paying for everything and do some printmaking. And I thought it was awesome. It was, like, a really good professional– I never been to, like, a really professional printmaking studio like that. And I made famous artists, artists I respect. Like, Faith Ringgold was a part of it. Chagoya, Enrique Chagoya, Luis Jimenez. Some of these Latino artists that I love and admire their work. So it was cool that I got to be part of that enclave of well known artists, and I’m like, I’m just a little dude from Cleveland, man. So I thought that was a very fascinating experience to do that and that these professors are interested in really documenting the stories of latino artists of this region and knowing that we have something unique to offer when it comes to the history of American art in this country.
Makialani Kanewa-Mariano [00:50:35] Is there anything else that you want to add before we wrap up the interview? Any final thoughts? Experiences or advice that you think is important for others to know?
Dante Rodriguez [00:50:43] Yeah, I think it’s very important that, you know, artists or anybody, what you do in life, just continue working, be passionate. What you do, stay open, you know, keep an open mind and everything like that, because the more you work and the more you make more connections, people gonna start appreciating and recognizing the work you do. I think that’s very important. A lot of people, you know, stop doing what they doing because they’re not getting the love and support they thought they would get. But you gotta stay dedicated. You know, eventually, some people get attention faster than others, but there’s people who’ve been working all their life. And as an artist, sometimes we do it to feed our ego, our recognition. But when you’re truly passionate about something, you’re doing it because you love it. And, like, for me, I didn’t realize, like, people were interested in me. They were, like, wanted to interview me, put me on TV, interested in what I do, and because of what I do, and I’m passionate about it, they just saw that, you know, I had a story to tell, and they gave me, you know, they shined the spotlight on me to, like, share my story, and I thought that was really interesting. Like, and then just recently, my girlfriend, Maddie, she decided to. I mean, we just met each other about a month ago. She wanted to google me, and she saw all these interviews and, like, write ups about me and that, you know, I was kind of. It made me realize, like, damn. I didn’t realize that I had that many people or organization that, you know, gave me an opportunity to share my story. And I think that’s really neat. And again, this is me. I’m just– I kept doing what I’ve been doing for the past 20 years or a couple decades. Once you passionate about something, you know, to stay dedicated, do not worry. It’s a process, and it’s a learning process, and you’ll just get better. You’ll just keep honing your craft. Eventually, you know, you know, people will support you, give you the love and attention that you deserve.
Makialani Kanewa-Mariano [00:52:34] Well, thank you so much for meeting with me.
Dante Rodriguez [00:52:36] Yeah, no problem.
Makialani Kanewa-Mariano [00:52:37] And allowing me to listen to and share your story as well.
Dante Rodriguez [00:52:39] Sure.
Makialani Kanewa-Mariano [00:52:40] The time is now. 6:41 p.m. I’m going to stop the recorder, completing this interview with Dante. Thank you so much.
Dante Rodriguez [00:52:46] You’re welcome.
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