Lordy Rodriguez
781 Oxford Way
Benicia, CA 94510
713-398-6497
[email protected]
Lordyrodriguez.com
Born 1976, Quezon City, Manila, Philippines
Education
2008 M.F.A. Stanford University. Stanford , CA
1999 B.F.A. School of Visual Arts. New York, NY
Public Art Projects
2023 “Neo Balboa”, B aer Art Projects, San Francisco, CA Permanent art installation at Mercy Housing Project Kapuso at the Upper Yard. 2022 “ Stanford’s World Map”, Slate Art Advisory, Stanford, CA Permanent art installation at a graduate residential building at Stanford University. 2019 “World Map ”, Facebook, San Francisco, CA
Permanent art installation at the Facebook SF campus event space lobby. 2018 “BorderTowns ”, General Services Administration, Columbus, NM Permanent art installation at the Land Port of Entry Immigration Center “Countries of the World”, Facebook Artist in Residence Program, San Francisco, CA Permanent art installation at the downtown SF location event space 2018 “Hayward Frieze”, Beth Jones Art Consultants, Hayward, CA Permanent art installation in the book store for the new Hayward Public Library. 2017 “The World of Texas”, Alice Carrington Foultz Art Advisory, San Antonio, TX Permanent art installation in the lobby of the Cellars at Pearl Building 2015 “Strangerhood”, San Francisco Arts Commission, San Francisco, CA; Permanent Installation of artworks in the United Terminal at San Francisco International Airport 2014 “Art on Market Street Poster Series: Strangerhood”, San Francisco Arts Commission, San Francisco, CA. Temporary art installation in bus kiosks on Market Street in downtown San Francisco, CA.
2011 “Water Movements”, Downtown Alliance, New York, NY Temporary installation of artworks on the exterior of construction of the Titanic Park in Lower Manhattan.
Solo Exhibitions
2023 “ The Shape of Us”, Hosfelt Gallery, San Francisco, CA 2023 “ Since Last We Met”, Art Pace, San Antonio, TX
2020 “ Polar Democracy”, Hosfelt Gallery, San Francisco, CA 2013 "Code Switch", Hosfelt Gallery, San Francisco, CA 2012 "2 X 2”, ProArts, Oakland, CA
2011 “The Map is Not the Territory”, Hosfelt Gallery, New York, NY 2009 “Surface Depths”, Nevada Museum of Art, Reno,NV
2009 “States of America”, Austin Museum of Art, Austin, TX 2008 “201 Drawings”, Hosfelt Gallery, San Francisco, CA 2007 “Polar Ice Caps”, Clementine Gallery, New York, NY 2006 “New Work”, Finesilver Gallery, Houston, TX
2006 “Landscapes”, Hosfelt Gallery, San Francisco, CA
2005 “Final States”, Clementine Gallery, New York, NY
2004 “New Work”, Finesilver Gallery, San Antonio, TX
2004 “New States”, Hosfelt Gallery, San Francisco, CA
2003 “New Work”, Finesilver Gallery, San Antonio, TX
2002 “New Dislocations”, Clementine Gallery, New York, NY Attachment 6
2001 “Texas 50", ArtPace, A Foundation for Contemporary A rt, The International Artist-In- Residence Program, San Antonio, TX
2000 “States”, Clementine Gallery, New York, NY
1999 “New Work”, Finesilver Gallery, San Antonio, TX
Group Exhibitions
2023 “ Altered Perception”, Institute of Contemporary Art San Jose, San Jose, CA “On the Grid”, Hosfelt Gallery, San Francisco, CA
2022 “On the Line: Documents of Risk and Faith”, Contemporary Art C enter, Cincinnati, OH 2020 “ In the Flow”, Nevada Museum of Art, Reno NV
2018 “ Other Walks, Other Lines”, San Jose Museum of Art, San Jose, CA “Works On Paper: Fine Art Exhibit by Oxbow School Visiting Artists 2000-2018”, Robert Mondavi Winery, Oakville, CA
2017 “ Show Your Work: Art and Math”, San Jose Museum of Art, San Jose, CA “ M
igration”, Joyce Gordon Gallery, Oakland, CA
“Mapping the Uncharted”, Richmond Art Center, Richmond, CA
2016 “Demarcate”, San Jose Institute of Contemporary Art, San Jose, CA “Badlands: Borders from Within”, The Works, San Jose, CA “Hosfelt Gallery 20
th Anniversary Exhibit”, Hosfelt Gallery, San Francisco, CA “Connect and Collect: 36th Annual Art Exhibit and Auction”, San Jose Museum of Art, San Jose, CA
2015 “Tahoe: A Visual History”, Nevada Museum of Art, Reno, NV “Position, Tensions, and the Surrounding Areas”, Somarts, San Francisco, CA
2014 “City Limits, City Life”, San Jose Museum of Art, San Jose, CA “The Art of Collaboration”, Artpace, San Antonio, TX
“Storm”, Center for Art and Thought, Los Angeles, CA
2013 "Contemporary Cartographies", Lehman College Art Gallery, Bronx, NY "Mapping the Terrain", The Mills Building, San Francisco, CA “Of a Technical Nature”, Austin Museum of Art, Austin, TX
2012 "Look Both Ways", Hosfelt Gallery, San Francisco, CA "Swap Meet", The Dikeou Collection, Denver CO
“New Works Now”, ArtPace, A Foundation for Contemporary Art, San Antonio, TX “The Map as Art”, Kemper Museum, St. Louis, MO
“Contemporary West”, Blanton Museum of Art, Austin, TX
2011 “Here Be Dragons: Mapping Information and Imagination”, Intersection for the Arts, San Francisco, CA
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"Vacation", Williams Tower Gallery, Houston, TX
"Chico and Chang", Intersection for the Arts, San Francisco, CA ; traveled to San Jose Institute of Contemporary Art, San Jose CA
"Records and Marks", Montalvo Arts Center, Saratoga, CA
2010 “Chain Reaction”, San Francisco Art Commission Gallery, San Francisco, CA "Mapping: Memory and Motion in Contemporary Art", Katonah Museum of Art, Katonah, NY
2009 “Bellwether: SOEX Grand Opening + Inaugural Exhibition”, Southern Exposure, San Francisco, CA
“Eye World”, Triple Candie, New York, NY
“Apature”, Go for a Loop Gallery, San Francisco, CA
“Cartographic Imagination: Mapping in Contemporary California Art”, The Fine Arts gallery at San Francisco State University, San Francisco, CA “The Coldest Winter I Ever Spent was a Summer in San Francisco”, Hosfelt Gallery, San Francisco, CA
“Here and There: Seeing New Ground”, 516 ARTS, Albuquerque, NM “Polar Dispatches”, Portland Museum of Art, Portland, ME “All Over the Map”, Kohler Art Center, Sheboygan, WI
Residencies
2016 Asian Art Museum, San Francisco, CA
2015 The Oxbow School, Napa, CA
2010 Montalvo A rts Center, Saratoga, CA
2003 Visiting Artist, Cleveland Institute of the Arts, Cleveland, OH 2002 Visiting Artist, Pennsylvania Academy of Fine Arts, Philadelphia, PA 2001 ArtPace, San Antonio, TX
Collections
UCSF Benioff Hospital
US Army Corps of Engineers
The Nevada Museum of Art Reno
The Progressive Corporation
New Museum of Contemporary Art, New York, NY/Altoids Curiously Strong Collection Austin Museum of Art
University of Washington
Williams College Museum of Art
Federal Reserve Bank Houston Branch
Teaching
2014-2016 San Jose State University, CA
Assistant Professor in Arts Entrepreneurship
2009-2014 Stanford University, CA
Lecturer in Painting, Painting II, Drawing, Drawing II, and Collage 2008-2014 University of California Berkeley, CA
Lecturer in Language of Drawing, Language of Painting, and Approaches to Painting
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ANNOTATED SLIDE LIST
Lordy Rodriguez
2023
Mercy Housing
1939 Market Street
1. “Bordertowns”
Dye Sublimation on Dibond Aluminum
13ft x 48ft
2018
Budget: 100k
Commissioning Agency: General Services Administration
Description: This exterior project is located on the New Mexico/Mexico border at a land port of entry border facility. Visual languages found in the local businesses, residences, murals, and graffiti were used to create a visual portrait of the two bordertowns of Columbus, NM and Palomas, Mexico.
2. “Strangerhood”
Dye Sublimation on Dibond Aluminum
68in x 288in
2014
Description: “Strangerhood takes the visual languages of 6 San Francisco neighborhoods that have either gone through a period of gentrification or are currently going through on. Bu noting the visual languages that dress a neighborhood at a certain period of time, it becomes more apparent when cultural landmarks change or disappear.
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3. “World Map”
Dye Sublimation on Dibond Aluminum and Acrylic
144in x 360in
2019
Budget: 40k
Commissioning Agency: Facebook
Description: Commissioned by Facebook for their downtown San Francisco Event Space. Taking the role that Facebook as taken as an arbiter of information, especially after the 2016 election, I presented a world map with what is seemingly some cultural patterns that delineate the shape of continents and countries. The patterns divide the land into fictional shapes of countries, but the patterns (usually meant to reveal more of the map) in this case hides the map. This directly references the role information plays with maps and other visual infographics.
4. “Stanford’s World Map”
Dye Sublimation on Dibond Aluminum
96” x 144”
2022
Budget: 20k
Commissioning Agency: Slate Art Advisory
Description: A world map with a likeness to Pangea that connects the innovative spirit of Stanford students from their beginnings as a student to their impact in the world after graduation. The pangea continent is a collage of the top 10 most innovative countries in 2021 according to Bloomberg. The interior is populated with the building footprints of all the residential buildings on campus which double as city blocks.
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5. “Pangea World Map”
Dye Sublimation on Dibond Aluminum
60.5in x 42.5in
2022
Description: Commissioned by the Geosciences Department at Williams College. This drawing takes the shape of Pangea during the early Triassic Period. Co2 levels, caused by volcanic activity rather than human activity, were similar to where we are right now. This period is also known as the Permian-Triassic Extinction vent. We are also going through an extinction event right now named the Holocene Extinction Event. This drawing takes the shape of Pangea and “urbanizes” the whole continent with roads and freeways with no green anywhere.
6. “Louisiana’s 2
nd”
Ink on paper
38in x 56in
2021
Description: This is from a series of drawings based on gerrymandered congressional districts.
Louisiana’s 2nd is an area prone to the effects of climate change. Regardless of how the residents vote on environmental issue, the larger effects of climate change is dependent on the rest of the world. The powerlessness of this dependency parallels the powerlessness that occurs from gerrymandering voters.
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7. “Sel
ma to Montgomery”
Ink on paper
26in x 52in
2020
Description: From the “Protests and Marchs” series, this piece takes the shape of the march from Selma to Montgomery in 1965 and places it onto a set o various sized grids with different sets of randomly chosen complimentary colors. The color structure parallel the racial dynamic of America with opposition and complimentary as similar polarities.
8. “Ven
ice”
Ink on paper
30” x 21.5”
2022
Description: From the “Water Drawings” series
centered around our relationship with water and
bodies of water, this piece takes the shape of
Venice as it is one of the places most effected by
sea level rise. The shape of the canals and
waterways are carved into the grid with its
negative space, a typical application of water in real maps. The swirl marks inside of the grid squares suggest a sinking or falling sensation, reflective of Venice’s disposition with its waters.
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9. “Ch
icago”
Ink on paper
30” x 21.5”
2022
Description: From the “Water Drawings” series, this piece looks at the growth of Chicago centered around the Chicago river. The orientation of Chicago follows the growth on the river (That being east to west) as opposed to typical
orientation of north to south. The green grid inside of the larger grid copies the emerald green color that is used to dye the river during St. Patricks Day reflecting an exploitive relationship to the river.
10. “Lak
e Karachay”
Ink on paper
30” x 21.5”
2022
Description: From the “Water Drawings” series, Lake Karachay was once considered the most polluted body of water in the world. Located in central Russia, it was a dumping spot for radioactive nuclear waste. It was later filled and basically erased, but the radioactivity still exists. The patterning inside the grid reflects the radioactivity that still inhabits the land and its residents there while the lack of negative space, a signifier of water in this series, reflects the filling in of the lake and what that implies in terms of history, governmental accountability, and neglect.
Attachment 6
Lordy Rodriguez
Proposal for Lakewood Library and Learning Center
City of Sunnyvale
Artwork Title: “People of Sunnyvale”
11/15/2023
Artwork Location: Primary
Wall (Exhibit A)
Budget: 30k
Size: 6’ x 39’
Material: Wallpaper, Dreamscape Suede.
Fabricator: Applied Coverings; San Francisco, CA.
Artwork Description
This mural depicts a ma
p of Sunnyvale repeated horizontally throughout the length of the wall at 39 feet.
The freeways and the coastline are the only elements that are retained from the original map. The areas within the freeways are populated with “blocks” that don’t follow the actual road layout. There are three types of “blocks”. There are multi layered blocks that are colored with a random color generator, light orange blocks with horizontal dotted lines, and bark blue blocks with thin white lines.
Artwork Concept
The core concept of this piece is a p
ortrait of the City of Sunnyvale that uses visual elements from maps, the agricultural history of the area, the current economic environment, and the increasing diversity of the residential population.
• Layout: One of the ways that I like to abstract the map to make an artwork, is to repeat the image. Fabricating this on wallpaper validates the repetition. Doing this lets me re- imagine the possibilities and potential of a place. To act as an anchor, the 5 main roads and freeways are kept as well as the coastline. This hopefully gives some level of recognizability to the audience. (I-280, US 101, SR 82, SR 85, and SR 237). • Blocks: Even though the Freeway system is repeated, the blocks that fill the map are not.
Each area is a unique configuration of blocks. There are three types of blocks that are depicted.
o Residential Blocks: These blocks are depicted with multiple layers of varying colors. The multiple layers reference contour lines in topographical maps while depicting multi-storied buildings, illustrating the relative density of the area. The colors are chosen using a random color generator. Randomly chosen colors is a running theme in my work where the colors chosen are from a pool of every possible color. This is a metaphor for the structure of population demographics and in this piece it references the diversity of the residents. o “Orchard” Blocks: These blocks are depicted with a light orange background with dotted lines of green circles. This references orchards and the agricultural history of Sunnyvale. In the final version, I would like to add more unique marks and refences to specific historical facts of the area like the Chinese labor force and the opening of a Libby’s factory.
o “Tech” Blocks: These blocks are depicted with a dark blue background with repeated horizontal white lines. This visual comes from solar panels which represents the technology industry that makes up for most of the economy. I chose solar panels because they are a technology that represent clean energy, forward thinking, and they use the sun to make energy just like the fruit orchards use the sun to make food energy.
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