What’s My Thesis?

Painter Kristin Calabrese joins Javier Proenza to discuss her development as an artist and her commitment to painting, from studying at the San Francisco Art Institute and UCLA to building a life and practice in Los Angeles. She reflects on growing up between Massachusetts and Arizona, running away as a teenager, the relationship between personal history and artistic practice, and her continuing search for a visual language that can accommodate realism, abstraction, photography, and experimentation. The conversation also considers class, art education and student debt; the ethics of representing homelessness; curating and artist-run spaces; and the economic realities of sustaining an artistic life. Calabrese discusses Serious Topics, the Inglewood artist project space she runs with painter Joshua Aster, as well as her belief in painting as a medium and the importance of artists supporting and collecting the work of other artists.

Azul Silverio is a Los Angeles-based artist, writer, curator, and arts administrator currently working at the Hammer Museum. Drawing on their experience at LACE and on the board of the National Performance Network, Silverio discusses supporting artists through institutions, developing a curatorial and writing practice, and navigating the contemporary art world. The conversation traces Silverio’s background in printmaking, performance, and autobiographical work exploring queer and trans identity, Latino and Mexican culture, and a Catholic upbringing. Silverio and host Javier Proenza also consider burnout, artistic ambition, networking, multidisciplinary careers, and the value of building a creative practice slowly and consistently over time.

Lebanese weaver and performance artist Saba Sadr, an MFA student at Otis College of Art and Design, joins Javier Proenza to discuss returning to Los Angeles after more than two decades in Lebanon and how experiences of displacement, caregiving, and political conflict inform an evolving artistic practice. Although Sadr's work centers on weaving and performance, the conversation expands into broader questions of identity, memory, and belonging. Together they examine the meaning of resilience, the complexities of Lebanese conservatism and resistance, queer community organizing in Lebanon, the challenges of public visibility, and the long-term consequences of war on individuals, families, and cultural memory. Throughout the discussion, Sadr reflects on the relationship between art, community, and the responsibility of speaking from lived experience rather than abstraction.

Juan Gomez returns to What’s My Thesis? to discuss his evolving practice across sculpture, installation, and drawing, and the ways his Mexican American identity and family history have resurfaced through materials associated with physical labor. Working with wire, knots, cement, bricks, packing materials, and found objects, Gomez reflects on his family’s roots in Zacatecas, his father’s blue-collar work, and the unexpected relationship between the labor he grew up around and the work he makes today. In conversation with Javier Proenza, Gomez considers the economics of sustaining an artistic practice outside the commercial art market, the role of mentorship and community, material impermanence and collecting, social comparison, failure, and the pressure to define success through institutional recognition. They also discuss Gomez’s time in Mexico, mortality and memory, AI-generated imagery and handmade objects, and his view of art not as a hobby but as a lasting discipline and way of life.

In this episode, Javier Proenza speaks with Los Angeles painter and sign painter Alex Gonzalez about the relationship between place, labor, and artistic practice. Drawing from a lifetime spent in the MacArthur Park neighborhood, Gonzalez describes how its density, street life, and changing social landscape have become the foundation of a narrative painting practice built on observation, symbolism, and allegory. The conversation explores the value of professional sign painting as both a craft and a sustainable career, the realities of maintaining an independent studio practice outside the gallery system, and the challenges of balancing artistic ambition with financial stability and family responsibility. Throughout, Gonzalez reflects on the ways everyday experience can be transformed into contemporary painting without losing sight of the community from which it emerges.