Eerie, evocative, and mesmerizing are just some of the words that spring to mind when viewing Aguilar's latest collection. His work brings forgotten histories to the forefront, intertwining past narratives with contemporary concerns such as environmental degradation, societal decline, and how the prioritization of profit affects the world's marginalized communities. Incorporating the artist's signature use of vibrant color, each piece serves as a poignant reminder of the enduring impact of the past on the present, beckoning viewers to consider their own agency and influence.
In London, during his show at Edel Assanti open until May 11th, 2024, we caught up with Aguilar to discuss The Age of Effluence and delve into his thoughts on the wider debate of the future of humanity.
The Age of Effluence
Michelle Tonta: What inspired the title The Age of Effluence for your exhibition, and how did this collection of new works come about?
Farley Aguilar: I believe that the word effluence captured the duality within the work in the exhibition very well. The tension between the words 'effluence' and 'effluent' was what made me choose the title. Effluence refers to a substance flowing out of something; this reminded me of ideas flowing out of the human mind, and effluent refers to waste or sewage. This is a very important concept to bring up. It has been true all through the 20th century and might be even more true in our current digital age.
Michelle Tonta: The Age of Effluence references numerous global catastrophes, such as the Minamata tragedy in Japan and the Aberfan mining disaster. Can you elaborate on why you chose to portray these events?
FA: I chose to portray them because of their global nature. Global competition and rapid industrialization have made us try and expand the limits of nature. I wanted to give examples of how profit and growth fetishism can have devastating consequences for poor communities all over the world.
Michelle Tonta: Similarly, what motivated your decision to portray Thomas Midgley and Fritz Haber, who are both known for their controversial legacies, in your artwork? How do you personally perceive these individuals?
FA: The scientists are the flip side of the exhibition. They are working at different times and in vastly different places. Midgley worked for General Motors in the United States, and Fritz Haber worked in Germany in the early 20th century. Both are expanding the bounds of nature: Haber made it possible for billions of people to eat with his Haber-Bosch process, and Midgley made transportation and refrigeration possible in the way we know it today. Their inventions also had horrible side effects. I find these multifaceted historical figures fascinating to paint; it present an ambiguous entity in front of people to think about.
Farley Aguilar: The Age of Effluence, installation view, Edel Assanti, London, 2024. Photo: Tom Carter.
Human Agency And The Role Of Art
Michelle Tonta: Your work is simultaneously evocative and haunting and ultimately left me with an overwhelming sense of powerlessness regarding the state of the world. How do you hope viewers will engage with and interpret your artwork?
FA: I really believe in human agency — people can change their perspective on how human beings should relate to one another. I would hope the viewer would recognize their own time in the images in the show. Sometimes, it's very hard to see one's own time. I think viewers should recognize the potential harmful effects of the vast changes in our current society. To think independently of what one is told by those profiting from the explosion of current technology is extremely important.
Michelle Tonta: What do you see as the role of art in addressing pressing social and environmental issues? What function does it serve?
FA: I believe an artist is an individual filtering all the stimuli in one's environment. If you are constantly trying to figure out what is essential in existence, you can't help but address social topics that seem unjust or dangerous. The function of art is to create a community for people to feel like they are not alone. Even if it does nothing, just the expression proves someone existed and had a consciousness. That is what makes history so vibrant and gives us hope for change towards greater empathy and understanding.
Michelle Tonta: What emotions do you experience when producing such impactful works that delve into intricate and, at times, upsetting themes?
I feel joy when I produce something that is successful — when I have given the feeling to the painting that I wanted to express. I do a lot of background reading on a subject before I begin working. This helps develop an empathy for the subjects, but also a frustration that helps fuel the spontaneous application of paint.
Michelle Tonta: Your artistic process involves working from found photographs of crowds, portraits, and historical reportage. Could you provide more detail about this method? Additionally, do you ever share your completed work with the individuals in the photographs?
FA: I usually start with a general search on a topic or historical figure. I look for something within the image that I feel has the qualities that I am trying to express. I then add to these qualities, either by altering the image in some way or painting in my intensified palette. For example, I can look for a picture of a woman riding a horse. There might be something about it that conveys an idea of human dominance over nature, like the woman being very refined. To this, I might add a second head on the horse to make it more wild and dynamic. I usually do not share the images with individuals associated with the photo because I feel I am turning the photographic source from a particular to a universal. The painting is something other than the photo.
The Future Of Humanity
Michelle Tonta: Given that your works often explore somber themes, how do you unwind and relax outside of your creative practice?
I usually unwind by watching films, doing exercise, and watching basketball. Outside of the studio, I spend lots of time with my wife. Occasionally, I'll socialize.
Michelle Tonta: Are you optimistic about the future of humanity?
Every generation believes they are in dire crisis; I think it's part of being human. It's probably some amplification of our anxiety about death. I am very skeptical about technological progress. Heidegger believed technology enframes nature, which I think is true. I would definitely be concerned about people who are born in the bubble of instantaneous communication and corporate tracking.
