10 Questions with Joe Taveras

Joe Taveras is a mixed media artist and designer who approaches painting with a unique sensibility, which is informed by his background as a roboticist. Fusing science and philosophy into his gestures, Taveras' bold, colorful expressions are rooted in explorations into how matter moves and interacts with the environment and universe. His creative practice has revolved around three key interests: oneness, the infinite power of the human mind, and the development of visual technology in the form of art.

Artworks by Joe Taveras have found their way into private and public collections around the world in places such as New York, Los Angeles, Miami, Sweden, Paris, Spain, South Korea, China, Canada, and more.

Recent press includes articles in Whitehot Magazine, The Boston Globe, and Alathea Magazine.

www.joetaverasart.com | @joetaveras

ARTIST STATEMENT

“I never intended to become an artist; my obsession naturally emerged from the systematic removal of my psyche's barriers to expression. My primary interest lies in the study of consciousness, and I often say that my work is a byproduct of my research on this matter. Where do we begin and end? What does it mean to be human? Through my art and through my life, I aim to expand these definitions. I am not interested in changing the way people view painting, but I am interested in changing the way people view the Universe. Over time, I see the underlying philosophies of my work as playing a significant role in contributing to humanity's ascension of consciousness - an adaptation that will be central to the 22nd Century as we achieve artificial general intelligence (AGI) and our understanding of the Universe exponentially expands.” - Joe Taveras

INTERVIEW

First of all, introduce yourself to our readers. Who are you and how did you first got interest in art and design?

My name is Joe Taveras. I am an artist and technologist, and I am often described as a serial entrepreneur. Growing up, I did not have an interest in visual art, but I loved playing musical instruments. I learned any instrument I could get my hands on, even if it was for only a half hour at the Guitar Center. I gained an interest in art when I lived in the East Village in New York City for a year. This was when I was working at Temi Robotics, and I would spend my weekends exploring every gallery and museum. I had no idea what I was looking at; I didn’t know what I was looking for, but it was enjoyable. I started painting two years later in March 2020 and have used painting as a method for self-expression, scientific discovery, and cultural exploration ever since.

When did you realize you wanted to pursue a career in art? And how did you develop into the artist you are today? 

I never consciously decided to become an artist. In early 2020, I had an epiphany that sparked an obsession. One day, I had never painted before, and the next, art was pouring out of me. This transformation remains a mystery to me. I knew that if I didn’t find a way to sell my work and survive, I would paint myself to death. I sold my first painting in September of 2020 to the very first person who walked into my studio during an open studio event in the SoWa Arts District in Boston. In February of 2021, I became a full-time artist and have been spreading my art and my vision as far as I can ever since!

How has your background as a roboticist influenced your approach to art and painting?

Understanding robots from the inside out fueled my subconscious inspiration during the early years of my practice. My experience with robotics heightened my love for advanced technology, and it gave me an intuitive vision of movement and macro physical behaviors. However, one thing that I have not touched on too much in previous interviews is that my experience with robots enhanced my ability to systematically learn how integrated mechanical systems coexist in order toperform mathematical processes. Using this ability, I rapidly engaged in a trial and error process to train my mind, body, and spirit to be able to seamlessly channel the spiritual material that becomes the finished artwork. I still use my robots daily, and in the future, I aim to have many thousands of robots to maintain my cities and general infrastructure for my assets.

On a different note, can you explain how philosophy and your interest in consciousness shape your artistic practice?

Systematically interacting with my Ego plays a major role in my creative practice. I have a process that I follow to remove my Ego, and when I do this, my brain, my entire nervous system, and my body as a whole become an actuator that the surrounding vibrational waves of cosmic matter push and pull to continue the evolution of matter onto the canvas. I call it Natural Art. I often times have zero recollection of the creation of the artwork because I didn’t make it. Creating in this way is a testament to my studies of both human consciousness and the Universe as a whole. There exist infinitieseverywhere in nature, and by creating without the Ego, the artworks that “I” create have infinite forms. I am not intentionally painting about the concept, the painting is the concept. I often say that the art I create is a byproduct of my scientific research.

How do you integrate scientific concepts into your artwork, and what impact do you hope this fusion has on viewers?

My scientific pursuits lie in my personal study of a wide variety of fields such as, but not limited to, chaos theory and nonlinear dynamics, quantum mechanics, biology, electronics, chemistry, metallurgy, astronomy, aesthetics, acoustics, psychology, sociology, and everything else that exists. In studying these matters, they serve as the contents of my source consciousness, my input if you will. All of my output is a byproduct of my input, which is true of everyone.

Speaking of your work, can you describe your creative process from the initial idea to the finished piece?

Well, my process is never the same, which I think tends to surprise people. I’m always creating works of all sizes and mediums. For some works, it’s very clear what input led to the output; you can see the complete energetic through-line, and it becomes clear that the art is not a representation of the input, but it is one and the same. For other works, especially these days, I spend many months and in some cases, over a year working on the same canvas consistently. I remember hearing Philip Guston talk about the importance of having more and more experiences with a canvas. I have loved re-working the same painting hundreds of times. Painting a blank white canvas into a tree, a portrait, a landscape, a fish to infinite fish and infinite trees to everything to nothing and back to a blank white canvas again is so satisfying and empowering. 

What role does the development of visual technology play in your art, and how do you see it evolving in your future work?

Technology is defined as being the application of scientific knowledge for practical purposes. My entire life, I have held a deep fascination for science. It has shaped how I view and engage with the world. My studies have opened my eyes to seeing infinite systems everywhere I go, and because this is my input, my output is infinite as well. When someone engages with my output or my artwork, that infinite way of seeing the world becomes their input. Over time, it will affect their output. This understanding of my art as being a form of visual technology has definitely evolved over the years as I’ve spent more time in the practice. I am always on, and my process is all-encompassing; there is no containing an infinite system.

Your work is in collections around the world. How do different cultural contexts influence the reception of your art?

It’s always interesting to me to see where my work ends up. I like to think that my work is universal in that I am not necessarily painting about a specific contextual concept, but instead the art gets created as a byproduct of me feeling different things based on what is happening in the world. I am extremely sensitive to shifts of energy and I like to keep a close tabs on global affairs. I paint the here now, I always have, and I always will. 

What new projects or themes are you excited to explore, and how do you envision your work evolving in the context of artificial intelligence?

Recently, I moved to a compound in the woods where I have several studios and spaces for expression. I’m always working on fun new projects that flow into one another. Last month, I was mining and creating jewelry; last week, I developed a stock trading game. And this week, I’m really interested in foraging for the plant Prunella Vulgaris. I aim to use that plant to develop shampoos, salves, drinks, and more. Not for sale, just for personal use and my close circle, though I could sell it. Funnily enough, I have no idea when the painting happens, but it happens in a major way!

And lastly, what is your biggest goal for 2024? 

My biggest goal for 2024 is to embody the highest form of my being by year’s end. 

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.