Heary, “Untitled,” circa 1997, ink on cotton, 15 x 15 in.

In a composition that fills the entire 15 by 15-inch surface with detail, we see a stern-faced man, holding a pistol and festooned with bandoleers, surrounded by a mixture of beautiful women, an intimidating rooster with wings outstretched, and a menacing clown—all rendered in fine, meticulous line work. The piece evokes a blend of machismo, romanticism, and dark humor typical of Artepaño, an art movement that emerged out of the penal system of the American Southwest in the late 20th century,

Curated by Ãlvaro Ibarra, the Nora Eccles Harrison Museum of Art’s Artepaño: Chicano Prisoner Kerchief Art offers an intimate glimpse into the inner lives and cultural expressions of incarcerated Latinx artists. With a collection of 71 works, depicting deeply personal valentines to menacing, vivid narratives, the exhibition is unified by the medium— a standard cotton handkerchief, known as a paño—transformed into a rich canvas that reflects the artist’s environment, beliefs, and experiences. Organized into five thematic sections, the exhibition explores different facets of paño art, from devotion and fandom to fantasy and the “crazy life.” Unified by their medium, these intricate black-and-white drawings, which were often sent to loved ones on the outside, are filled with figurative imagery and complex compositions, demonstrating the artists’ resourcefulness and acute observational skills.

One of the dominant themes in the exhibition is the exploration of “La Vida Loca” or “The Crazy Life,” which is depicted in pieces that reflect the tension between romanticized outlaw lifestyles and the harsh realities of imprisonment. These works include a mixture of imagery, from meticulously drawn lowriders to intimidating gang members. They exemplify a specific aesthetic that blends personal iconography with larger cultural references. For instance, in one of the untitled works featuring a bandana-wearing man, the viewer is immediately struck by the starkness of the subject’s gaze, which reflects pride, fear, and vulnerability all at once.

Images from “La Vida Loca” (left) and “Tirando Tiempo” (right)

“Wasting Time” explores the repetitive nature of prison life. These works feel more subdued and deeply contemplative, with several depictions of religious figures juxtaposed against mundane scenes. Letter writing and visits through glass barriers indicate the brief moments of reprieve where connection to the outside world is made. The intricately detailed linework embodies the way prisoners use art as a meditative escape, filling their liminal time with intricate, repetitive detail.

“Fantasy,” delves into the psychological impacts of isolation and explores how the incarcerated use art to escape their confined reality. These works reflect obsessive thinking, particularly in relation to romantic or religious subjects, as well as more surreal, psychedelic imagery. In one notable piece, a woman surrounded by roses and religious symbols conveys a deep yearning for connection, blending fantasy and devotion. Another striking example features chaotic, swirling forms in bright, intense colors, embodying the mental disarray that isolation can induce.

The artists’ devotion to sports teams, music, and pop culture shines through in  “Fandom”: the Raiders, the ‘49ers and the Spurs all receive devotional attention, as do pop stars like Tina Turner and Selena and Los Dinos. Much like fandom, faith offers solace and a sense of purpose to the artists. Many of the paños depict Christ or the Virgin Mary in traditional yet stylized forms, with intricate shading and an obvious reverence. In one work, an image of Christ with a heart aflame, rays radiating outwards, evokes a sense of redemption and hope despite the oppressive circumstances.

Overall, the exhibition is a striking testament to how deeply personal and symbolic imagery can flourish in confined spaces. The meticulous, often surreal details in many of these works provide a sharp contrast to the minimalist materials, elevating the humble cotton handkerchief into a powerful medium of expression. It speaks to resilience, identity, and survival, with each piece offering a window into the artist’s psyche and a broader commentary on life inside prison.

Artepaño: Chicano Prisoner Kerchief Art, Nora Eccles Harrison Museum of Art, Utah State University, Logan, through Feb. 1, 2025.

All images courtesy of the author.

Shawn Rossiter

The founder of Artists of Utah and editor of its online magazine, 15 Bytes, Shawn Rossiter has undergraduate degrees in English, French and Italian Literature and studied Comparative Literature in graduate school before pursuing a career in art.