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Aaron Wilder

@aaronwilderart

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Aaron Wilder is an artist who blurs boundaries between the analog and the digital, the public and the private, and the unassuming and the instigative.
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"To Remain 34”2026Digital Photograph20x26”aaronwilder.com > To Remain by @aaronwilderart
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5 hours ago
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Art by Masha Sha is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026Fourteenfifteengallery.com > Current > Declarations of IncongruenceIn “TRUST,” Masha Sha approaches language as both material and unstable structure. Created through dense accumulations of graphite marks on tracing paper, the work forms the word “trust” in large-scale fragments that remain legible yet visibly unsettled. Split horizontally and slightly misaligned across two adjoining sheets, the word persists while its internal coherence falters.From a distance, “TRUST” appears whole. The viewer recognizes the word immediately, drawn into its apparent clarity. As the viewer moves closer, however, the fracture becomes evident: the upper and lower halves no longer align precisely, and the surrounding field of repetitive mark-making begins to dominate perception. The word is still present, but its stability is compromised. This condition of near-coherence evokes the fragile structures through which trust itself operates—systems that rely on alignment between expectation and behavior, appearance and reality, promise and fulfillment.Sha’s process emphasizes accumulation and repetition, where thousands of small gestures gradually produce both form and disruption. The word emerges not through direct inscription, but through negative space carved out of dense fields of mark-making. In this sense, language is not simply written but excavated, revealed through absence as much as presence. “TRUST” resonates as a reflection on the conditions under which collective, institutional, and interpersonal trust is sustained or eroded. Sha’s drawing holds space for ambiguity, where trust is neither affirmed nor denied, but shown as something continually negotiated, dependent on fragile alignments that can never be fully guaranteed.Image caption: Masha Sha, “TRUST,” 2021, Graphite on Tracing Paper#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#drawing@mashashamashasha@1415_gallery by @aaronwilderart
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a day ago
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How can ritual carry history without becoming trapped by it?Discover the first installment of Raised Voices, a series of recorded artist talks accompanying “Declarations of Incongruence,” curated by Aaron Wilder and on view July3-31 at Fourteenfifteen Gallery in Albuquerque.Artist Rica Maestas reflects on “Father's Day performance with yucca flowers,” discussing how ritual, performance, and the desert landscape become sites for remembering, resisting, and imagining otherwise. Through reflections on the yucca flower, embodied practice, and the persistence of historical memory, Maestas offers deeper insight into the ideas that shape her work and its place within the exhibition.Watch the full artist talk and experience “Declarations of Incongruence” through the artist's own reflections.#ContemporaryArt #ArtistTalk #PerformanceArt #NewMexicoArt #SouthwestArt #Ritual #DecolonialArt #VideoSeries #DeclarationOfIndependence #artivism #ResistanceThroughArt #albuquerqueart #newmexicoartists #artexhibition #visualarts #galleryexhibition #pueblorevolt@ricaroux @1415_gallery by @aaronwilderart
2
2 days ago
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Art by Mack Farel is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026Fourteenfifteengallery.com > Current > Declarations of IncongruenceIn “We the Other,” Mack Farel transforms the familiar language and symbolism of American patriotism into a meditation on exclusion, belonging, and resilience. Constructed as a wearable brooch, the work adopts the visual form of a star—a symbol closely associated with national identity, civic pride, and collective ideals. Etched on a crossbar spanning is the phrase “WE THE OTHER,” a deliberate reworking of language traditionally used to invoke democratic unity. The brooch’s distressed surface reinforces this tension. Patina and wear suggest histories that have been neglected, obscured, or eroded over time, while the red, white, and blue stones embedded within the piece evoke national symbolism complicated by contradiction. Suspended beneath the star, a tassel composed of intertwined cords in the same colors extends the work’s visual language. Burned at its ends, the tassel introduces themes of violence, grief, and survival, transforming patriotic colors into traces of endurance rather than celebration.By employing the format of adornment, Farel engages the social and political dimensions of what it means to wear an identity. Brooches have historically signified allegiance, honor, or affiliation; here, the object becomes a declaration of presence on behalf of those rendered “other” by systems of power. “We the Other” acknowledges histories of exclusion while refusing erasure, asserting that communities denied full recognition remain visible, resilient, and central to the ongoing struggle over who belongs within the nation’s collective narrative.Image caption: Mack Farel, “We the Other,” 2025, Brass, Ink, Stones, Leather Cord, Embroidery Thread#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#wearablesculpture@sweetheart_silver@1415_gallery by @aaronwilderart
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3 days ago
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Art by Jocelyne Garcia Ortiz is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026Fourteenfifteengallery.com > Current > Declarations of IncongruenceIn “Go Back Home (I Am Home?),” Jocelyne Garcia Ortiz transforms a childhood memory into a powerful reflection on belonging, identity, and the persistence of anti-immigrant sentiment in the United States. Based on an incident from the artist’s youth, the painting recalls returning home to find the words “GO BACK HOME” spray-painted across her family’s garage door. The event remained largely unspoken, lingering as an unresolved memory whose significance became clearer with time. By revisiting this experience as an adult, Garcia Ortiz brings private trauma into public view, creating space for conversations that are often avoided or suppressed.The painting depicts a modest suburban home rendered with careful realism. In contrast, the surrounding landscape is animated by turbulent brushwork. Foliage dissolves into restless gestures, suggesting the instability of memory and the emotional residue of an event that continues to reverberate long after its physical traces have disappeared. In the artwork’s title, the phrase “Go Back Home” is answered by the questioning refrain “I Am Home?”, exposing the absurdity and violence of demands that equate belonging with race, language, or ancestry. Rather than depicting an isolated act of prejudice, Garcia Ortiz reveals how such moments participate in larger systems that define who is perceived as American and who remains subject to suspicion.Image caption: Jocelyne Garcia Ortiz, “Go Back Home (I Am Home?),” 2018, Acrylic on Canvas #DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#acrylicpainting@tlacoyotl.artes @1415_gallery by @aaronwilderart
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4 days ago
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Art by Chandler Wigton is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026Fourteenfifteengallery.com > Current > Declarations of Incongruence“Exclusion Zone,” by Chandler Wigton, emerges from a practice that moves fluidly between drawing, collage, and painting, using systems of mapping, abstraction, and material accumulation to explore how landscapes are shaped by structures of knowledge and power. The work reflects on the instability of perception itself, where images form and dissolve like mirages, and where meaning is perpetually approached but never fully secured.At the center of the composition is a dense, irregular cluster of yellow and green forms derived from census maps of the United States. Wigton abstracts the administrative grid of the nation into a shifting, almost topographical mass. Its ambiguity underscores how systems of classification—geographic, demographic, or political—both organize and obscure the realities they attempt to describe.Radiating outward from this central form are blue linear gestures that suggest waves, vibrations, or unseen forces extending through space. The surface evokes layered systems of infrastructure, data, or containment. The interplay between these elements produces a sense of circulation and restriction at once.Referencing areas restricted due to military activity, environmental disaster, or political control, the term “Exclusion Zone” evokes spaces defined by absence, danger, and regulation. Made while the artist was in proximity to the Trinity Test Site in New Mexico, the work links localized landscapes to global systems of nuclear power and its enduring consequences. Within the context of the exhibition, “Exclusion Zone” situates the United States itself as a contested space—one shaped by overlapping histories of control, erasure, and resistance. Image caption: Chandler Wigton, “Exclusion Zone,” 2026, Collage, Graphite, Colored Pencil on Paper#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#drawing#collage by @aaronwilderart
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5 days ago
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"To Remain 33”2026Digital Photograph20x26”aaronwilder.com > To Remain by @aaronwilderart
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6 days ago
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"To Remain 32”2026Digital Photograph26x20”aaronwilder.com > To Remain by @aaronwilderart
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7 days ago
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Fourteenfifteen Gallery is open this weekend 2-8PM on Saturday 7/18 and Sunday 7/191415 4th Street SW, AlbuquerqueOn view:"Declarations of Incongruence"July 3-31, 2026Open Sat-Sun in July, 2-8pmClosing reception: Friday July 31, 6-9pmAt a time of commemorations of the signing of the Declaration of Independence, "Declarations of Incongruence" draws attention to the document’s covert normalization of exclusion and exploitation. Despite 250 years of claimed progress, expanded inclusion, and justice for all, the Declaration’s true legacy continues in the erosion and erasure of cultures, identities, rights, and statuses not only at the federal level, but also perpetuated by state, county, and municipal governments. Curated by Aaron Wilder, this exhibition features artistic declarations that challenge, draw attention to, refuse, and embody resilience despite the perpetuation of incongruence between America’s founding mythology and historic, contemporary, and future realities.The show features 12 artists: Camille Cunningham, Mack Farel, Jocelyne Garcia Ortiz, Eric J. Garcia, Mikaela Guggino, Rica Maestas, Jessica Metz, Ashley Miller, Brooke Redux, Masha Sha, Chandler Wigton, and Aaron Wilder. The work of each engages critically with the intentions and legacies of the Declaration of Independence, collectively corresponding to the group of land-owning, white male signers whose privileges were normalized in its text. Exhibited works include collage, drawing, painting, performance, photography, printmaking, sculpture, and video. Across these diverse media, the artists examine how language, land, bodies, and histories are entangled, while also exploring acts of refusal, survival, imagination, and care.Fourteenfifteengallery.com > Current > Declarations of Incongruence@totsieturvy@sweetheart_silver@tlacoyotl.artes@elmacheteillustrated@mgartbee@ricaroux@brookeredux@mashashamashasha#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#galleryexhibition by @aaronwilderart
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8 days ago
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Art by Eric J. García is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026Fourteenfifteengallery.com > Current > Declarations of IncongruenceThe work of Eric J. García confronts the narratives through which the United States understands itself, exposing the distance between national mythology and historical reality. García employs humor, satire, and graphic immediacy to challenge historical amnesia and the whitewashing of the past. Rendered in a stark palette of red, white, and black, “4 Evils” depicts Uncle Sam transformed into a devilish figure. Each prong of his pitchfork is labeled with a social ill—“Militarism,” “Racism,” “Poverty,” and “Pollution”—implicating these forces as foundational rather than accidental features of American power. By recasting one of the nation’s most recognizable patriotic symbols as a demonic agent, García subverts familiar iconography and asks viewers to reconsider what, precisely, is being celebrated in national commemorations.“Defending What’s Important” is divided into opposing scenes, contrasting two competing visions of rights, ownership, and public responsibility. On one side, a man invokes personal entitlement while excluding and threatening others; on the other, a protester defending collective resources faces state violence. The juxtaposition exposes how declarations of freedom can function differently depending on who is speaking, whose interests are being protected, and who bears the consequences.Image captions: Eric J. García, “4 Evils,” 2021, Serigraph on PaperEric J. García, “Defending What's Important,” 2017, Ink on Paper#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#drawing#printmaking#satire by @aaronwilderart
2
9 days ago
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Art by Rica Maestas is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026Fourteenfifteengallery.com > Current > Declarations of IncongruenceIn “Father’s Day performance with yucca flowers,” Rica Maestas draws upon ritual, embodiment, and place to explore the enduring legacies of colonialism in the Southwest. Documented through a cross-shaped arrangement of photographs, the work reimagines a historical practice associated with the aftermath of the Pueblo Revolt of 1680, when Pueblo peoples sought to cleanse themselves of Spanish influence following their successful resistance to colonial rule. Rather than presenting history as a distant event, Maestas activates it as a living framework through which contemporary systems of power can be understood and challenged.The work depicts a performance of nude figure washes her hair and body with yucca flowers, a plant long associated with cleansing and survival in the desert landscape. The central image, in which a dish of yucca flowers is held above the river’s water, functions as an offering and a point of transformation from which the surrounding actions unfold.Created in 2020 amid the COVID-19 pandemic and widespread protests against racial injustice, the performance resonates beyond its historical reference. Maestas connects colonial violence to contemporary systems of domination, inviting viewers to consider what inherited structures continue to shape bodies, identities, and daily life. The work is grounded in care and imagines cleansing not as forgetting, but as an ongoing practice of healing, resistance, and becoming otherwise.Image caption: Rica Maestas, Father's Day performance with yucca flowers, 2020, Performance Documentation on Framed Kodak Pearl Prints#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#galleryexhibition#performanceart#pueblorevolt@ricaroux @1415_gallery by @aaronwilderart
1
10 days ago
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Art by Jessica Metz is on display in Fourteenfifteen Gallery’s exhibition “Declarations of Incongruence” on view in Albuquerque July 3-31, 2026https://www.fourteenfifteengallery.com/declarationsofincongruence.html “King Baby,” by Jessica Metz, examines the instability of national symbols and the values they are made to represent. Metz investigates how systems of power shape both physical and psychological landscapes. In this work, she turns her attention to one of the most recognizable symbols of American identity: the flag.Suspended from an eagle-topped flagpole, an American flag hangs upside down and is entirely covered in gold leaf. Across its surface, the phrases “ALL HAIL” on one side and “KING BABY” on the other are spray-painted in black. The upside-down flag, traditionally reserved as a signal of distress, suggests a nation in crisis. With gold leaf, the flag appears simultaneously precious and corrupted.The title “King Baby” evokes a figure defined by entitlement, immaturity, and an expectation of unquestioned obedience. Combined with the command “ALL HAIL,” the piece suggests a political culture increasingly organized around personality, grievance, and displays of power rather than collective responsibility. Metz exposes tensions between democratic ideals and authoritarian impulses.Rather than treating the flag as a fixed symbol, “King Baby” emphasizes that national icons derive their meaning from the values and actions of the societies that animate them. Metz transforms a patriotic object into a mirror, reflecting back questions about power, accountability, and the distance between national mythology and lived experience. The result is both an indictment and a challenge: if symbols ultimately mean what we make them mean, what exactly are we pledging allegiance to?Image caption: Jessica Metz, “King Baby,” 2025, American Flag, Eagle-Capped Flag Pole, Gold Leaf, Spray Paint#DeclarationOfIndependence#artivism#decolonialart#ResistanceThroughArt#albuquerqueart#newmexicoart#newmexicoartists#artexhibition#contemporaryart#visualarts#galleryexhibition#sculpture#goldleaf#americanflag by @aaronwilderart
0
11 days ago
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