Hoesy Corona (B. Mexico 1986, lives and works in the USA)
Hoesy Corona is an uncategorized artist working across media. Corona has shown compelling works and inventive sculptures fitted to the human body internationally in Greece, France, and in the USA at various institutional, private, public and underground venues including among others: The Hirshhorn Museum and Sculpture Garden (2017); The Baltimore Museum of Art (2011, 2012, 2014); Athens School of Fine Arts (2018); The Walters Art Museum (2017); The Heurich House Museum (2018); The Peale Center (2016); Songs for Presidents Gallery (2015); Gallery CA (2015); Decker Gallery (2013, 2015, 2017); Smithsonian Arts and Industries Building (2018); The Brooklyn International Performance Art Festival (2014); Greenbelt Arts Center (2015); The Fine Arts Work Center (2014, 2015, 2016); VisArts (2013); The Creative Alliance (2015); IAU College(2005); and the Haggerty Museum (2005).
In addition to maintaining a prolific studio practice, Corona also organizes nomadic contemporary art exhibitions in the USA. His curatorial efforts include: A Monumental Absence, solo performance by Najee H.F., Confederate Monument Plinth, Baltimore, MD ; Mother/Sister/Daughter, at The Artist Run Art Fair 2017, Artscape, Baltimore, MD ; Light Happenings pt II, Light City 2017, Baltimore, MD;Labbodies Performance Art Review 2016", Spacecamp Gallery, Baltimore, MD, July 2016; "White Guilt Confessional", Solo show by April Danielle Lewi,, Artist Run Art Fair, Baltimore, MD, 2016; "Borders Boundaries and Barricades" a Performance art review, Gallery CA, Baltimore, MD, 2015 ; "Blood Cube and Spitface" solo show by Emilia Penannen, Platform Gallery (2015); "The Multiplicity and Flexibility of the Self State", Performancy-Forum-Quinquennial, Grace Exhibition Space, Brooklyn, NY, 2015 ;"Over|Under Limbo", Transmodern Festival Baltimore, MD 2014; "Fast Forward Future", Baltimore Museum of Art, Baltimore, MD 2014. "Rooms Play" and “Rooms Play 2”, The Copycat Theatre, Current Space, Baltimore, MD 2010, 2011;
Recent honors include a Tulsa Artist Fellowship 2019-2020; a Halcyon Arts Lab Fellowship 2017-2018 in Washington, DC; a Merriweather District Artist in Residence 2018; an Andy Warhol Foundation Grit Fund Grant administered by The Contemporary in Visual Arts 2017; a Robert W. Deutsch Foundation's Ruby's Project Grants in Visual Art 2016-17; a Light City public art commission 2017; an Ox-Bow School of Art Fall Artist in Residence 2017; a CHM Sculpture Park and Fellowship 2016-2017; a Light City Artist in Residence Winter 2016 in Baltimore's Station North; a Cafe Con Leche Latino Artist Resident in Pittsburgh,PA Spring 2016; a Fine Arts Work Center Award; a Pelham Printmaking Residency;was a Janet and Walter Sondheim Prize Semifinalist in 2013,2015,2017; a Maryland State Arts Council Individual Artist Award 2013; a Baker Artist Awards B-Grant (The Copycat Theatre); and was included in Creative Capital's "On Our Radar 2016.
"I think of myself as an artist of change. I am Hoesy Corona. And I am also Dr. H. Corona. My performative alter egos are part of my larger inquiry into who we are and how we construct ourselves and our identities. And how so often those who exist on the margins of society have to change who they are simply to survive.
My project based work is predicated on a multimedia approach that encompasses installation, performance, sculpture, painting and public art. I explore what it means to be a queer latinx in a place where there are few queer latinx and in the process I consider the psychological and physical ramifications of never seeing yourself reflected anywhere.
My work is content driven but aesthetically motivated. As such I’ve developed a personal creative vocabulary that I implement in the studio when constructing a new piece. Reoccurring themes of queerness, immigration, climate change, alienation, and celebration are all present throughout my work. I create otherworldly colorful manifestations that seduce and draw-in the audience closer to the work while challenging their preconceived notions.
In my ongoing series The Nobodies (2009-Present) I make colorful sculptural garments fitted to the human body to create other worldly experiences for the viewer. I revel in the simultaneous visibility and invisibility that the garments bring to the wearer. In these public performances I invite audience members to play a part in the act of nobodying, an operation that consists of making somebody, nobody. “Nothing” all of a sudden becomes individualized, becomes body and eyes becomes no one.
Recently, I’ve been exploring the impending plight of climate-immigrants worldwide through a series of site specific performances and installations."