Pepe Coronado: A Voice of Resilience and Chicano Graphic Expression
Pepe Coronado, born in Santo Domingo, Dominican Republic in 1965, is an American artist whose work embodies the spirit of chicano graphics—a vibrant movement rooted in Mexican-American identity and activism. His artistic journey has been marked by a profound engagement with social justice issues and a distinctive visual language that blends surrealism, symbolism, and meticulous craftsmanship.
Coronado’s formative years were shaped by experiences reflecting the complexities of Dominican diaspora culture. This background instilled within him an unwavering commitment to portraying marginalized voices and confronting uncomfortable truths through art. He honed his skills in New York City, immersing himself in the urban landscape and absorbing influences from artists like Diego Rivera and José Clemente Orozco—giants of Mexican muralism who championed social realism as a tool for disseminating revolutionary ideas. These masters’ dedication to capturing the struggles of ordinary people resonated deeply with Coronado's artistic sensibilities. He pursued formal training at institutions such as Corcoran College of Art, Georgetown University and Maryland Institute College of Art, earning an MFA degree that solidified his understanding of artistic principles and techniques.
Coronado’s distinctive style is characterized by dreamlike imagery populated with fantastical creatures and symbolic representations. He employs a technique that combines meticulous linework with bold color palettes, creating canvases that pulsate with energy and emotion. Recurring motifs—often referencing indigenous folklore and Dominican mythology—underscore his exploration of themes like diaspora identity, resilience, and the enduring power of cultural heritage. His artwork isn’t merely decorative; it's an active dialogue with history and a forceful assertion of cultural pride. He is particularly recognized for his masterful printmaking skills, honed during residencies at Pyramid Atlantic Workshop International, Hand Print Workshop and Serie Print Project, demonstrating a dedication to mastering traditional methods alongside innovative approaches.
A pivotal moment in Coronado’s career arrived with his participation in the Smithsonian American Art Museum’s Pandemic Oral History Program in 2020, where he shared insights into his artistic process and motivations. This interview solidified his reputation as a thoughtful artist deeply invested in communicating experiences of displacement and fostering empathy for communities facing adversity. Furthermore, Coronado's artwork gained recognition through its inclusion in exhibitions showcasing the breadth of chicano art—a movement that emerged during the Civil Rights era and continues to inspire artists today. His work has been showcased at MOLAA museum in Los Angeles, The Smithsonian American Art Museum, El Museo del Barrio, Georgetown University and numerous other galleries across the United States.
Coronado’s most recent solo exhibitions include: Interactions: Borders, Boundaries and Historical Relations of the US/DR, Prizm Art Fair, Rush Philanthropic Arts Foundation, Miami; Boundaries, Curated by Margaret Moulton, The Hastings Village Arts Commission Gallery, Hastings on Hudson, NY; Projects Photo/Prints, 410 GooDBudY Gallery, Washington, DC; Construcciones - Obstrucciones 2005 - 10, PhotoImagen Biennial, Casa de Teatro, Dominican Republic, Santo Domingo, curated by Sara Hermann; and at the Center for the Digital Arts, Westchester Community College, NY, curated by Lise Prown; Obstrucciones, Gallery 101, Georgetown University, Washington DC and Amos Eno Gallery, Brooklyn, NY. Group exhibitions include: Gráfica America, curated by Gabriela Martinez and Rogelio Gutierrez at MOLAA museum in Los Angeles. Uptown triennial, curated by Deborah Cullen and Souleo.\n CNY art gallery and El Museo del Barrio, curated by Rocio Aranda-Alvarado, NYC. My Home Is Not Your Backyard, curated by Oshun Layne, Corridor Gallery, Brooklyn, NY; Resilience: Reclaiming History and the Dominican Diaspora, co-curated by Moses Ros-Suarez and Jonathan Goldman, IDB Cultural Center, Washington DC; Tyranny’s Tear: Mending a Dominican Trauma, co-curated by Linda Cunningham and Moses Ros-Suarez, Bronx Art Space Gallery, Bronx, NY; Crossing Boarders at Arts Westchester Gallery, White Plains, NY, curated by Kathleen Reckling; Superreal at El Museo del Barrio, New York, NY, curated by Rocio Aranda-Alvarado;\n Photo Credit: Manolo Salas.\n El Panal/The Hive, Trienal Poli-Grafica de San Juan Puerto Rico, curated by Deborah Cullen; 6th international Printmaking biennial of Douro, Portugal, curated by Nuno Canela; and Directions: DC Contemporary Latino Art, Frida Kahlo Gallery, Cultural Institute of Mexico, Washington, DC, curated by Laura Roulet.\n Coronado’s work is part of various collections, including the Museum of Latin Amercian Art (MOLAA), The Smithsonian American Art Museum, The Archives of American Art, The Rutgers Archives for Printmaking Studios, CUNY Dominican Studies Institute, City College of New York City; El Museo del Barrio, El Museo Latino, Georgetown University, Lauinger Memorial Library of Rare Books and Prints Collection, The Library of Congress, The Eugene and Agnes E. Meyer Foundation, The Federal Reserve Board of Governors Art Collection, District of Columbia Government: Arts and Humanities Commission, and El Paso Museum of Art and Mexic-Arte Museum.
