I manipulate words and images through a process of revision, omission, and embellishment. This process migrates from paper to pixels and back to paper. Most images and words belong to me, but some are discovered.
This scavenging, cutting, layering, overlapping, rearranging, decorating, and merging, entail a process of making formal sense of seemingly unrelated parts. In turn, this results in a lineage of hybrid, glyph-like assemblages.
Unlike glyphs, these new arrangements don’t need to be deciphered. These aren't puzzles or riddles. Instead, these compositions seek to redirect; to obscure the origin of its parts; to achieve a sense of completeness from a state of fragmentation.
Bernardo Diaz is an artist, educator, and administrator who resides in Austin TX. Diaz earned his MFA from the Meadows School of the Arts at Southern Methodist University. A queer, first generation Mexican-American, Diaz was born in the midwest and spent his formative years in Eagle Pass, a southwest Texas town on the border with Mexico. Diaz’s work explores notions of identity, hybridity, and fragmentation and currently works around three conceptual frameworks: embellishment, omission, and revision. Diaz is not committed to a specific medium and his work manifests in the form of paintings, drawings, collages, text, and socially-engaged projects. Diaz has worked alongside various art organizations including the Public Art Selection Committee for the City of Dallas, Art Love Magic, Big Thought, and Peripheral Vision Arts. Diaz was included in the Dallas Pavillion, a tongue-in-cheek exhibition in print that debuted at the 55th Annual Venice Biennial. An essay and selection of Diaz's work was published in Aztlan: A Journal of Chicano Studies at UCLA's Chicano Studies Research Center. He currently serves as assistant professor of art and Art Department Chair at Austin Community College. Diaz loves his two pet dogs, who he promised to mention in his bio; their names are Trixie and Loki.