When did you become interested in theology? You mentioned the transition to UTSA from Rio Grande Valley was accompanied by a more conceptual approach to visual art and your craft—how did that conceptual coursework impact you and open the door for theology?

The decision to study theology came from a long line of what I consider to be Spirit-led events. Funnily enough, before I knew much at all about the DITA program or Duke, my mother jokingly told me in conversation, “You know, I could see you studying theology.” We laughed. “I could actually see that too,” I responded. Though at the time, I wasn’t sure what that really entailed. Much of the conceptual approach I was learning at UTSA dealt with things related to the philosophy of aesthetics, and how one approached those formal philosophical ideas or problems visually (the concept of the figure-ground dynamic, for example). 

As I went on, I felt that this practice I was developing was leading through and beyond these philosophical explorations and into a place of deep unity. It was at this point that I felt studying theology was the right way to go. Months after that interaction with my mother, a mentor of mine at UTSA, Dr. Mel Webb, sat me down to hear more about my interests and my artistic practice. Dr. Webb was the one who sent me a link to DITA’s website, where I saw for the first time an image of someone connecting art to faith in Duke University Chapel. I saw it, and all I remember is feeling a full body “yes.”

Now you’re finishing your M.T.S. at Duke Divinity School, with a Certificate in Theology and the Arts. Tell us about your time so far. How has the theological coursework impacted you as an artist and as a theologian? 

My time at Duke Divinity School thus far has been incredibly impactful on my trajectory as an artist. Having the opportunity to study the theology of the worldwide church throughout time, learning new languages, and thinking critically about what it means to be a Christian artist and maker has not only broadened how I think artistically but also refined how I understand my artistic practice. For me as a visual artist, this comes in the form of considering deeply what the composition of a piece might do as a theological statement in itself. From this, I can consider the ways my work might “do” theology in a way that my words cannot.

Were there any particular Certificate courses at DITA that proved particularly impactful? Any professors or thinkers who really changed your thinking about art and theology?

If I had to name a particular course to highlight, I would say the Theology of Visual Art with Dr. Janet Soskice was particularly impactful. Dr. Soskice is brilliant, and she also was gracious enough to allow us to bring in our own artwork to discuss as a class. This I found to be very enriching, as it was also at a time when I was beginning to connect the dots between my artistic work, cognitive psychology, and the human imagination.  

That’s another thing I’ll add: studying at Duke has brought many interdisciplinary opportunities; and another course I took that has been incredibly impactful was a course in the wider University’s psychology department on the Psychology of the Imagination. That course, although very technical and a real deep dive into cognitive psychology, really impacted me as an artist and specifically helped me think about the works I’ve created since being at Duke.

You were selected as Duke University Chapel’s C. Eric Lincoln Fellow in Theology and the Visual Arts for the 2024–2025 academic year. As a part of the fellowship, you created six new works and put on a solo exhibition running from Jan. 16 to Feb. 28. Tell us about the fellowship and the gallery. How did you develop as an artist and a theologian through this opportunity to paint in a theological setting? 

The fellowship was created by Duke University Chapel to honor the late Dr. C. Eric Lincoln, a Duke professor internationally recognized for his work involving religion and culture. From the beginning, I knew that this exhibition was undertaking a difficult topic. By and large, hope has become an empty word, one that for most people only points to a vain expectancy. And how could I, as an artist and an individual of relative privilege, speak and make work regarding hope in a way that does not diminish or trivialize the genuine despair of people around the world? 

Dr. C. Eric Lincoln spoke about this difficulty—the difficulty in speaking confidently about love in times such as his own, but also and precisely in that, the necessity to do so. The exhibition I have put together, Imagination and Promise: The Theological Aesthetics of Hope attempts to invite the viewer into the act of hope as an imaginative act. Following the suggestion of St. John of Damascus—that the visual image in religious life has a distinct role to play—in this project I considered how experiences can transform you, and further believed that a visual encounter is an opportunity to be transformed (as Paul admonishes) through the renewing of the mind (Rom. 12:12). The works of this exhibition are made with the intention of inviting the viewer to momentarily imagine-that with the piece. And by “imagine-that” I don’t mean pretend-as-if! Drawing from the field of cognitive psychology, what I do mean is to momentarily let your imagination encounter (entertain) the world of the picture. In this encounter, I hope the viewer may have an opportunity to imagine a world suffused with God’s promise, to be with us now, and always (Mtt. 28:20) and with God’s grace in the imagination, witness how this promise might transform how we view the everyday and the mundane. 

Can you tell us about one particular painting from the show? Was there one piece that stood out to you as particularly meaningful or important? 

The piece Endeavor from the show depicts a woman standing with her arms outstretched, grasping out at the abstracted elements of the piece. All of the pieces in this exhibit involve people that I have met or continue to see in my day-to-day life. This piece stands out to me because the figure in it is a Colombian farmer, whom I had the enriching experience to meet and learn from as part of my time here at Duke Divinity School. To say that she, along with her entire community were inspiring, is to say too little. Seeing and hearing what it takes to hope in a situation and context like their own was deeply humbling. This piece is titled “Endeavor” because to hope in God’s promise is an endeavor. One that we as Christians take on and extend to the world. And at the admonishment to share the community’s story. I knew I wanted to honor them in this way.

Lastly, we’d be grateful for your thoughts on the certificate program—what word of advice would you offer to practicing artists considering the program?

For practicing artists considering Duke Divinity School, I’d say this: Know that there is wealth of knowledge and wisdom here that can nourish a creative practice but can also overwhelm it. Pacing yourself in order to take care of your practice, letting it grow and respond to your developing theology is what I’ve found to be the most crucial. In other words, prepare to be challenged and transformed. Studying at Duke as an artist has been such an affirmation of what I value. The idea of bringing faith and knowledge together, through my creative practice is what brought me to Duke—and it is a richer, more imaginative capacity to do this that I am taking away from my time here at Duke Divinity school.