SINGULART has partnered with Studio Arts College International (SACI) to establish a comprehensive international artist residency program. SACI’s mission is to provide rigorous and transformative arts education, offering courses in traditional and contemporary studio arts, design, conservation, and art history in the heart of Florence, Italy. SINGULART carefully selected the participating artists for a month-long residency to create new work inspired by the historic city, stylistically and conceptually interpreting Florence in a contemporary way.
The first SINGULART artist to complete the SACI x SINGULART residency is Damian Siqueiros. During his stay, he created his photographic series BOTANICA: images exploring the convergence of social and environmental ecologies. Using Primavera—the masterpiece by Florence’s Renaissance master Sandro Botticelli—as a point of departure, Siqueiros channeled the city as inspiration and backdrop to explore themes of humanism and our relationship to nature.
About BOTANICA
Through this series of portraits, Siqueiros gains a deeper understanding of Florence’s rhythm and its diverse inhabitants—both human and non-human. His primary focus lies in discerning the plants and people that reside within the liminal spaces of Florence, examining who holds agency to cross boundaries, and exploring the intricate web of their interconnections.
These images serve as testimonials, shedding light on overlooked beauty in forgotten places, a consequence of centuries-old ideologies separating hierarchies of humans and nature. The intention is to open a window into these neglected dimensions of the environment, promoting empathy and encouraging the forging of new paths towards a harmonious socio-ecological environment.
From now until December 31, these works are available exclusively through SINGULART. Take advantage of this rare opportunity to own these exceptional limited-edition photographs.
We sat down with the talented artist to learn about his artistic journey and uncover his experience during his residency in Florence.
In Conversation With Damian Siqueiros
Let’s start with an introduction. Can you share your background and the beginnings of your artistic journey?
I am a visual artist based in Montreal, but I’m originally from Mexico. So I am now Mexican-Canadian. I’m primarily a photographer, but I also do film, installation, and art direction. Growing up, it was always very foreign to me and difficult to understand that not every person had a passion, or didn’t know what they wanted to do, because I always knew what I wanted to do. I’ve been an artist since I was born. Dancing at five years old, writing poetry, creating music, etc. But I only started to consider it as a profession when I went to university. Like with many artists, my parents were worried that I was not going to make it, that it would be a hard life, and I should study something safer. My parents didn’t forbid me to study arts, but they did discourage it. So, I started to study communications and taking art classes at the same time. But I soon realized that it was always about art for me, it is what I’m meant to do. It’s been 20 years since I have been a professional artist. I’ve been with Singulart for a few years now, almost since its beginning, and I have seen it grow immensely.
What are your values as an artist? What do you want to say with your works?
This is a big question for me, because my work is very value oriented. It’s the core of my practice, to the point where the medium becomes secondary. I’m very passionate about gender equality. I’m from Mexico, and the inequality is something that is very palpable…lack of opportunities, harmful media portrayal, violence. So I included gender equality and LGBTQ+ rights in my work pretty early on.
Equitable cultural representation is also very important to me, which I especially realized when I arrived in Canada. I experienced an undoing of privilege, as I became an immigrant. My international experiences allowed me to witness the complexities of privilege, which I then put into my art. I want to tell the stories of people who don’t have that voice, not as a savior, but rather as a contributor to an ongoing conversation and a vehicle of their truths.
I have also more recently begun exploring environmental issues. If we don’t have a healthy environment, we don’t have a place to exercise our cultural, economic, or health rights. It is directly related to the social issues I care about. I have a very particular set of values that move through my work: equality, compassion, community building. And it’s not only about the final image, but also about creating sustainable processes: having a minimal carbon footprint and positive impact on the people that collaborate with me.
What is one particular artwork that exemplifies your practice?
For one of my works, I worked with the model Claudia Sham, who portrayed an astronaut that just lost someone that she really loves. Her grief thus also symbolizes the loss of biodiversity, and the destruction of natural resources. I wanted to convey a radicalized woman in the role of an astronaut, perceived as holding a position of power, highly-educated and embodying qualities we admire. We are viewing her in a heroic role. Expanding imaginations is one of my main goals.
Why did you apply for this residency? What about Florence appeals to you?
Florence, and Italy in general, is a cornerstone and a place that you have to see as an art historian. I have been to Italy before, but I didn’t necessarily have that opportunity to study in depth. I also wanted to examine how I would see a place that has been this sort of bastion of European art, through the lens of contemporary social issues. It’s also quite fascinating to see in-person so much work that I love, work which has influenced my own. I recognize myself in the work of Michelangelo, Tiepolo, Ghirlandaio…I can see where my art is coming from.
How did this residency differ from others that you have been to?
One of my other prominent residencies was in Korea in 2016. Culturally, it’s very different, the way that people perceive my work. In Korea, my work received a lot of resistance. I wanted to talk about gender equality. I worked with local dancers who were open and wanted to explore it. But people from the museums and within the institutions did not want me to address this topic, and we were discouraged from talking about these topics. I had done a series about gay icons in Russia which was well received in Korea, so they were okay with having a sort of this critical eye on other cultures, but not necessarily on their own. I did not want to impose Western ideas on their culture, so I let the women in my pictures tell their story, I was just providing the visual platform.
Florence is such a liberal city, people were very much understanding of what I wanted to do, and they were supportive of my ideas. I met a lot of people in the street to use as models, who were not professionals. And I only had three weeks, instead of three months like in Korea, to build that relationship of trust.
The superpower that I have as a photographer, and as an artist, is to see people immediately. I can see their strengths, and I can see their vulnerabilities. One of the joys of being in this specific residency was to be able to identify these people right away. One of my models was an Afro-descendant Italian. She was born and raised in Italy and speaks the language perfectly, but every day she’s asked where she is from. She has lived with these microaggressions, and I wanted this to be a point of exploration and about lifting her up from that specific point of view. I wanted to capture her beautiful energy, beyond what people usually see. I also worked with a trans model, exploring the traditional perceptions of what a man is supposed to be. It was a powerful experience, and it is really satisfying to be able to be a positive mirror for people.
Did you face any language barriers?
I can understand Italian, and I speak a little bit. I was able to communicate with a Spanish-Italian-English blend. It was a lot easier than in Korea, where I did not speak the language at all, where I depended a lot more on nonverbal communication. But what is most important for my work is that my subjects feel comfortable to express themselves, and that’s more about the energy I bring and the space I create for people. That doesn’t need a language.
You were on location with art and design students from Accent Global, how did you embrace this element of the residency?
My practice has always involved an educational aspect. So, I do travel a bit to teach students how to use their art, create for impact, talk about social issues, and be aware of their biases. I really like the idea of observing people, seeing their potential, and with their consent, trying to grow that potential. I worked with students, inquiring what they wanted to learn and advising in alignment with their interests. It was an exchange, because I learned from them as well. It’s important that the relationship is not one-sided, it should be an egalitarian conversation. So I loved the educational part of the experience, it was amazing.
What are some things you learned about yourself during this residency?
First one that comes to mind: if unchecked, you will run yourself to the ground by making too many things and eating too much gelato. My walks around the city also stay with me. I would go out for midnight strolls to discover the city and people watch. Florence is such a touristic destination, but when you see past that, it’s such a rare jewel. Also, I can say that I’m now too old to not have my assistant with me, to help manage operations so I can focus the energy I have on my creative work.
What advice do you have for artists interested in a residency? And the SACI residency in particular?
Even before applying, think about the environments that appeal to you. If you are interested in the Arctic, maybe don’t apply to residencies in the Mediterranean. If you can, connect with people that live there before your arrival. Your mindset is also important. If you view it as just a holiday, you may limit your creative output during your stay. Gain genuine interest for the city and what it offers, and see how you can use it to grow your work, otherwise it’s going to remain a superficial visit.
With Florence, it is particularly difficult even for Italians, to see beyond the touristic aspects. But to understand all the stories that are there, everything that was created there–the birth of humanism, all the ideas that are embedded in the architecture and in the art itself–that is going into a deeper perception. Try to understand the people that live there and make personal connections with the local community. You want to sort of lose yourself in the city, then step back and see how you have changed in the end.
What’s next for you?
I’m someone that is always moving and has ten different projects in my head at the same time. I’m currently at the beginning stages for many of my ideas. There will be a link between some of these projects and my experience in Florence. Right now, I’m walking between the visual arts field and the and environmental/conservation fields, talking to sociologists, preservationists and organizations. I am interested in creating an educational program for artists about using our work for social and ecological impact. Maybe a podcast, or eventually a book. As an artist, our role is reimagining the world for other people and putting those ideas forward. Hopefully, ideas that improve people’s lives or change the world or the better. So, my work will go towards helping artists understand their power.
Discover more work by Damian Siqueiros
