Artist Isaac Santiago finds inspiration in North McAllen grackles

The gathering of birds on the power lines along North 10th Street is a common sight for the local community. But to new viewers, the sight can be awesome. This was indeed the case with artist Isaac Santiago, who found the feathered species lined up above the street every evening nothing less than inspiring. The recent works that resulted from his experience are currently on display at The Art House Gallery.

“When I came here, I went to 10th and Trenton,” explained Santiago. “And all the birds gathered. I was very impressed by the way they moved in a group. I relate the behavior of birds to the behavior of people. It’s not something completely direct, but I just like the way that they blend with nature and take over nature. I wanted to capture the multiplicity that they have, and their unity along with the individual quality of each bird.”

His exhibit is installed in the entrance gallery; the major piece consisting of several grackles in a variety of positions covers the main east wall. This group, “Grackles,” presents individual bird shapes cut from wood. Upon each one, Santiago has interpreted the bird through imaginative and spontaneous drawing. A grackle near the ceiling displays a gliding position, but the pattern on the bird is not feathers. Rather, Santiago has taken flights of fancy with Sharpie markers, drawing shapes that agree with the general shape of the cutout instead of the anatomy of a bird. Another bird in this group carries a burden. Flowing lines and sinewy shapes attach a backpack-like shape to the body of the bird, yet it appears to be part of the bird itself. Another group shows metal birds with the linear designs etched into them.

Santiago’s birds possess a strong decorative quality through his use of warm and cool color contrasts set against bold black lines. It reads as a woodcut technique. This exuberance is lacking in the group of metal birds.

In his symbolic self-portrait, “San Pedrito,” Santiago depicts a man-bird transformation. The torso and pants are his, but his arms and head have turned into a bird that only exists in Puerto Rico. This image begins Santiago’s utopian transformation of birds and humans.

Overall, the artist sees American society reflected in the lifestyle of our feathered creatures.

“Sometimes we have our inequality,” he added, “and with the big flocks, the birds move like they feel they have to move, and it’s something very beautiful, very visual. I think the human masses move more or less the same way. Each one doing what he has to do. And there are consequences; when we see a lot of birds like that they conquer a certain region. And obviously, they can destroy it, too.”

Nancy Moyer, Professor Emerita of Art from UTPA, is an art critic for The Monitor. She may be reached at nmoyer@rgv.rr.com