Laura Aguilar

Laura Aguilar, born on October 26^th, 1959, in the San Gabriel Valley, east of Los Angeles; was an essential figure in the Chicanx community, her work hailed for its pioneering intersectional feminism. With each piece she created, exuding the utmost care and empathy for her subjects (including herself).

Being born with auditory dyslexia, without a diagnosis until her mid-20s, she would find communication difficult, until she was introduced to photography during her high school years, in the late 1970s, by her brother, who showed her how to develop film in a dark room. This exposure to photography gave Laura a new form of self-expression, which she would excel at, gaining confidence within herself, and using the medium to explore her identity, share her voice, and uplift others.

Despite her prolific oeuvre, Laura would not have any formal training in photography, due to her difficulties with the educational system, but would find the mentorship of Mei Valenzuela. Meeting at the East Los Angeles College, while Laura was taking some classes, Mei would impart an important lesson for the young Laura in this male dominated field: ‘You have to master your craft, or they will tear you apart. You want technical quality so no one can put you down, and so they’ll have to deal with your subjects.’

Laura’s exploration of identity would be a running theme among her earlier work, and her artistic canon. With Three Eagles Flying(1990) being emblematic of this. Politically charged, we see Laura stand between the American and Mexican flags, as she is wrapped in their national symbolism, tied and beholden by rope to each identity as she grapples with herself as an American citizen with Mexican heritage. Three Eagles Flying marks the culmination of Laura exploration of identity which we would see throughout the 1980s.

‘I came to the realization that my art is important… Other people get as much from it as I do.’

The 80s would be an important decade for Laura. Receiving her diagnosis of dyslexia; the importance of which can be seen in her Will Work for me (1993), spelling access as ‘axccess’, as she embraces this part of herself. Alongside embracing her diagnosis, she would find acceptance in her lesbian and chicana identity. Seen best in Latina Lesbians (1986-90); six portraits of lesbian women proudly reflecting on their own sexualities, they proclaim in their own words, on their own terms below each portrait, about what being a lesbian, a woman, and Latina, means to them – Laura raising their voices, as well as her own, as central to the piece.

The precursor to Three Eagles Flying, In Sandy’s Room (1989), is a more grounded, personal, self-acceptance of Laura’s ventures through the 80s. Head tilted back, legs outstretched, heat permeating as a fan whirls, she holds her favourite beverage, diet Pepsi; the shutter release cable emphasising the laid-back style as it sneaks out behind her chair. Laura evokes a playful languorous atmosphere as she explores her body, being comfortable with it and herself.

‘I’d been dealing with my body, finding forgiveness for hating my body, learning to accept grace within myself, within life and nature.’

This exploration of her body is a characteristic element of her work, finding love, acceptance, and forgiveness within it. The comfort we see in Nature Self-Portrait (1996), #11, as Laura sits nude among the rocky American desert as she becomes embedded in her natural surroundings. Again, we see this melding into the landscape in her Motion (1999) series; joined by other women, we see their bodies flowing between the natural forms, blending into the environment as their faces are obscured, turned away, or hidden by hair.

Grounded (2006-2007), would be the artists final set of nude self-portraiture in nature, before her passing in 2018. The location, Joshua Tree National Park, was a place deeply personal for Laura, it later becoming her resting place, which she would represent through #118, as Laura is lying on the rocky surface, poised in stillness. These works from Nature Self-Portrait, to Grounded and Motion confronts the concept of beauty and what it means to be beautiful, challenging the viewer’s gaze – especially that of male onlookers – each piece inducing the love and acceptance Laura has for her own body, imparting this message on the viewer as we see her nude body fuse with the landscape.

Laura would die at the age of 58 due to complications from diabetes. Her work is a cornerstone of intersectional feminism, portraying minoritized groups: large-bodied, queer, working-class, and brown people. Through positive imagery, Laura breaks down the negative stereotypes associated with specific groups, giving each of her subjects the dignity and respect they deserve. Throughout her work, Laura was always honest, her portrayals of self, culture, queerness, mental health, and learning difficulties resonates so vividly in her imagery and are relatable for many. She gives a place for invisible voices to find representation, to be seen, and to be heard.

‘I know some people may see me as very childlike, naïve. Maybe so. I am. But I will be damned if I let this part of me die!’

Laura’s archive is held by the Laura Aguilar Trust which can be found here.

by Emery