Jacoub Reyes
Jacoub Reyes is an artist and public academic based in Florida. His artistic research centers his Caribbean and Pakistani background as a relational point which he utilizes to expand on themes of colonialism, social response, and ecosystems as seen in his work with The IEA, Ma’s House, Latinx Project, and CENTRO. His projects with Alfred University, Hunter College, UCSF, and other prestigious institutions have garnered international acclaim. He graduated from the University of Central Florida receiving a BFA in Drawing and Printmaking. He went on to receive certifications in sustainable materials from Parsons. The intersections found in his work have allowed him to travel globally, engaging in lectures, workshops, and community events with Mid America Print Council, Frontera Galeria Urbana, Museum of Latin American Art and others. Notable awards and fellowships include the Center for Craft’s Teaching Artist Cohort, South Florida Cultural Consortium Grant, and The Puffin Foundation, among others.
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As I navigate my multicultural heritage, I confront systems of power and privilege, allowing myself to take control of histories written by despotic forces. I challenge these narratives through archival research, participatory design, investigative art making methods, and place-based projects. I often use personal experiences, community collaborations, and ancestral connections to inform my creative process. This process reflects my upbringing and current lifestyle, a mix of constantly changing spaces and material access. My interdisciplinary practice is realized through the utilization of raw materials, found objects, and handmade tools and substrates. My practice blends tradition with experimental processes, often incorporating digital technologies and utilitarian materials in unorthodox applications. Through this, I bridge the gap between the ancestral past and present, inviting viewers to engage with history in a way that is both personal and universal.
Fragment 11
Woodblock print on ceramic
11x6.5x1.5"
2022
This piece examines material temporality through the lens of found ceramic objects recovered from the Shinnecock Bay. These artifacts, bearing witness to numerous tidal cycles, serve as tangible fragments of environmental history. The integration of found materials is a central tenet of my artistic practice, fostering a direct engagement with the immediate surroundings and the inherent narratives of the land. This process allows for a reclamation of past material existence within a contemporary context. The work specifically highlights the ecological significance of kelp within the Shinnecock Bay ecosystem. This is articulated through woodcut prints depicting kelp, which are then wheatpasted onto the salvaged ceramic surfaces. This deliberate juxtaposition serves to raise awareness for the Shinnecock Kelp Farmers, a women-led initiative dedicated to the ecological restoration of the Shinnecock Bay. The layering of printed imagery onto the reclaimed objects creates a dialogue between natural processes, human intervention, and the potential for ecological advocacy within the artistic sphere.
Carne de mi carne (Wild Coffee v. Coral Ardisia)
Woodblock print and natural pigments from invasive species on muslin
37x56"
2022
"Carne de mi carne" translates to the flesh of my flesh. This piece shows wild coffee, a native plant in the Caribbean and Florida, and Coral Ardisia, planted by European settlers. The plants are nearly indistinguishable in appearance, both with clusters of small red berries and thick ridged leaves. The former is edible and medicinal, while the latter is poisonous. This piece was the first in a series exploring the relationship between plants to determine the parallel themes of colonialism in our human ecosystem. Here, the native wild coffee figure faces erasure and takes a defensive stance while trying to keep their land, struggling to grow deep roots, survive the changing composition of the soil, and fight against the strangling vines that choke out life while they dwindle to nothing. When we look at this in the context of human nature, we see an unforgiving look at the world today.
La Calle esta tan seca, pero la manera esta tan resbaladizo (Sea Grape)
Woodcut, acrylic, and resin on found panel
48x48”
2023
The Sea Grape is a native tree of the Caribbean. The anthropomorphic figure is modeled after Umberto Boccioni sculptures to embody Caribbean futurism. It merges folklore and history of Balthazar Montañez, son of the black revolutionist who led the first black slave uprising of 1734. Montañez renounced his race, Puerto Rico, and father to marry a Spaniard official's daughter. The Spaniards used his perceived status to subdue the revolution of the Afro-Caribbeans and orchestrated narratives. Folklore says he fell over the edge of a nearby cliff and was lifted by angels to safety. They erected a statue of Montañez that resides at Capilla del Santo Cristo de la Salud. This substrate is sourced from reclaimed materials with visible imperfections. It is hand-rolled to achieve bold black lines and tri-color and wood exposure. I employ alternative materials like tissue paper and sand with paint to create texture on the elements.
Ornamental Figurations in Motion (Innocence, Love, and Joy)
Woodblock print on marbled cotton
120x120"
2024
This piece explores native and invasive plant species found in South Florida and the Caribbean, represented through anthropomorphic forms as they dance amid intricate geometric designs. Inspired by the art of José Clemente Orozco and the Shah Jahan Mosque, the plants symbolize my cultural heritage. The pineapple, an iconic crop linked to Taino hospitality, represents friendship and protection, while guava, a berry with a rich colonial history, highlights its global medicinal significance. Devil’s Horsewhip, an invasive species with diverse uses worldwide, reflects its pathway into Puerto Rico since 1924. Oleander, a toxic plant used in Pakistan’s traditional medicine despite its dangers, adds depth to the narrative. Lastly, the Monk Orchid, native to Africa, showcases its ability to rapidly colonize new environments in the Caribbean and Florida. Together, these elements converge to examine the intricate relationships between culture, ecology, and the significance of diverse plant life.
Te escribÍ esta carta (por dolor)
Woodblock print on Banana Leaf
16x22"
2023
This piece is an experiment using unaltered plant materials as a substrate to print on. This image depicts two hands with pencils drawing lines from their wrists, symbolizing the symbiotic relationship between humans and nature. I am inspired to work with limited and reclaimed materials, and this work prompts the romantic notions I have for my research and exploration of working through a natural lens. The final print came after experimenting with printing on banana leaves in different states of decay. Through this process, the material changes colors, texture, and shape. Even after the printing, it will continue to change, reflecting the continuous narrative between humans and the natural world.