Feature: A Different Social Economy
San Antonio-based studio artist and curator Crystal Rocha questions if a traditional arts education is really a necessary ingredient in professional success
By Sarah Gill | 9/15/24
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The importance of art school is highly contested. While it offers networking, studio classes, and mentorship opportunities, the question remains, is the investment justified? Although it can be a helpful stepping stone in any artist's career, it isn’t a necessary ingredient for success.
This month’s feature with San Antonio-based studio artist and curator Crystal Rocha offers a different perspective in the art school debate. As an entirely self-taught artist, Crystal has been featured in local galleries, had two solo exhibitions, and curated two exhibitions. In our discussion we talked about the practical steps she's taken, the role working in the service industry has shaped her career, and how measurements of success are subjective.
As a child, Crystal dreamed about being an artist, even if it was just a reverie.
“I liked the idea of becoming a cool artist in a studio apartment, making crazy paintings, and smoking a cigarette inside. It did keep me going, but, that was always just a fun daydream,” she recalls.
Although her initial aspirations might have been superficial, in her teenage years, art became a serious companion to help combat her loneliness and exercise her angst after her parent’s divorce.
“I spent that first year locked in my room. It felt like it was me against the world, but art gave me an outlet, it became us against the world,” Crystal says.
Crystal further explains that her practice as an artist is intrinsically introspective. Her work has always been a visual diary. It became a safe way to process her feelings without the anxiety of verbally expressing them.
“I wasn’t good with words, I’m better now, but still not great. It's how I talk with myself and how I live with myself. I think this is the one thing I should be able to be selfish with,” Crystal says.
Although Crystal flourished as an artist, she struggled academically in school. The idea of going to college never appealed to her. Coming from a working-class Mexican American family, the notion of a higher education was rooted in advancing socially or financially.
“You go to school to become a doctor or a lawyer, you don’t go to art school,” Crystal remarks.
While Crystal chose not to go to school, she found other solutions to pursue her goal of becoming a studio artist. “I didn't go to college, but I like to think that I tried to put the same amount of time into my practices, which I think translates so differently because it's instead of going to school, putting that time and energy there, I was doing the same things, but in the real world,” Crystal says.
She dedicated her time to learning traditional oil painting, noting that she dedicated extra time to studying color theory. When she wasn’t working on her practical skills, Crystal spent her time networking and working in local restaurants, which proved to be an effective means of advancing her career as an artist.
“You're still learning, but in the real world outside of (school), it's just a different social economy,” Crystal says. “I got really into restaurants outside of art. I love hospitality. I think it's so special and important. I'm also a food-driven human who loves to cook.”
She specifically acknowledges Alex and Christine Lee of Indy Coffee for the support they’ve provided in her career.
“They did give me a lot of resources I never imagined having. Introducing me to people and giving me a platform,” She said.
Crystal also mentioned the benefits of socializing while working in hospitality.
“You’re speed-running with socializing when you're in such a forward-facing position”.
Another asset to Crystal’s career has been her involvement with other artists in a shared studio space. One of Crystal’s goals was to have a dedicated studio for making art.
“I just googled ‘Artist Studios near me’ and started emailing,” Crystal recalls. She eventually found Mercury Project, a local artist collective and gallery space. Throughout her time at Mercury Project, Crystal has worked on her creative projects, organized local art events and fundraisers, and assisted other artists with installations and exhibitions. Being a member of this community has allowed Crystal to collaborate with her studio mates, give and receive guidance, and share practical resources such as printers, tools, and canvases. She credits manager Rikianne Van Kirk, who has provided her with resources such as local grants to apply to, introducing Crystal to other local artists, and offering career advice. Crystal says she hopes she can do the same for other emerging local artists.
“It was a huge motivation, outside of pursuing art just for the hell of it. Outside of wanting to be this cool, edgy artist. I want to have these connections so that I can share them,” Crystal says.
Crystal's 2024 interactive installation 'Labor of Love' beckoned the audience to experience something "thriving to all senses." The installation used a studio floor covered in grass, resembling a parched suburban lawn, calling upon themes of labor - "from the act of sourcing, buying, transporting, setting up, to laying the grass and the endless maintenance that is required after all previous acts have been done." (SOURCE: Crystal Rocha)
Despite her success, Crystal still sometimes struggles with self-doubt and comparison. But she also reminds herself that success will look different for everyone in the professional art world.
“I'll always compare myself to other people. I'm like ‘Well, they have a degree. They're smarter than me, but that's not true because I’ve taught myself how to be a traditional oil painter,” she says.
Crystal tries to remind herself that she’s put in the same time and energy most traditional students have but with advanced experience in a professional environment. When asked about her idea of success, Crystal emphasizes the importance of human connection and personal achievements.
“Sometimes I get a little pouty because I haven’t had a spot on the Glasstire Top Five. Being in these big publications or outlets feels so important sometimes. I get insecure that it hasn’t happened yet because I don’t have a degree, but then I remember my last show Labour of Love brought someone’s grandma to tears. She had just come from her own mother’s funeral. She came up to me in tears to thank me. It reminds me of my milestones, which are so important to me. It keeps me going, even if I never win a big prize for my work.” Crystal says.
“Labor of Love, with the grass install, really felt like childbirth with all the physical labor I put into it. My sister was there, and at that moment, the entire world went away. It was like we were back in our front yard with our dad, trying to get that stupid radio to work. Being transported to that same feeling 20 years later. That’s what I think is important. Validation comes from experiences like that.”
Crystal’s portfolio is available to view online, and you can keep up with her work on Instagram.
PHOTO: Kyle Bowden @grainytexmex
About the Author:
Sarah J. Gill is a nonfiction writer and poet currently working in the fragrance industry. She is an avid baker and a proud member of a nonperforming choir. She is tall, beautiful, and easily overwhelmed. If you like her work, please kindly keep it to yourself as she can not bear the weight of perception. She lives in San Antonio, Texas with her cat, Guinevere.
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