Twice the Legal Minute, 2023
Shellac, soil, charcoal, floordust, sawdust, used motor oil, and powdered clay on drop cloth stretched over 2x4s.
40” x 60” x 3.5”

Documentation by Charles Moffett Gallery.

Pour, 2023
Shellac, soil, charcoal, floordust, sawdust, used motor oil, and powdered clay on drop cloth stretched over 2x4s.
48” x 55” x 3.5”

Documentation by Guillaume Ziccarelli.

brindis, 2023
Installation with three paintings including tire iron, good-luck charm (goat foot), new born baby daily schedules on paper, motor oil on paper, 2022 calendar, iron man figurine, ziplock bag of lime juice and chili, reclaimed wooden pallet nails, ziplock bag of soil and plant detritus from grandmother’s funeral, hologram portrait of wolf and two bald eagles, two meat deli posters, sticky notes, fliers, grandfather’s hat, note cards, ceramic dog, tarzan clock, corn husk weaving resembling a plant, plastic mickey mouse piggy bank, pink pig piggy bank, cardboard boxes, lanyards, cotton banner with marathon bibs and swimming caps, clothes pins, YSoA dolly, used candles, colored drawing of Goku on paper, subwoofer, ac/dc current converter, electrical wiring, fridge magnets, glass and ceramic diamond award, ceramic cup, car rear view mirror flag, rosary, library card, receipts, parking tickets, parking passes, sandpaper, restaurant menu on semi-gloss paper, and two exit signs.
Dimensions variable.

Documentation by Pat Garcia Jr.

a kilo belongs to sugar, 2022
In vent: books and folded used drop cloth. On wall: metal coat rack in the shape of two ducks, t-shirt, green tote bag with books, canvas, tire iron, good-luck charm (goat foot), artist statement drafts printed on bond paper, clipboard, receipts, parking tickets, parking passes, sandpaper, photo-booth print, restaurant menu on semi-gloss paper, exit sign, smoke detector, and wifi extension router. Dimensions variable.

bear with me for a sec, 2022
Charcoal drawing on shop paper towel, sunbleached bond paper (Roller Magic July 2022 skate schedule), pen on paper receipt, menu printed on semi-gloss paper, red sketch book, painters tape, hoop earring, ink and graphite on green cover moleskine sketchbook, and pen on pink post-it note. Dimensions variable.

Documentation by Emma Beatrez.

Full Light Halfway Dry, 2022
Burned pallet wood, twine, ratchet straps, and metal anchors. Dimensions variable.

A City Amputated (Una Ciudad Amputada), 2021
Charcoal transfer on three wounded homasote boards, and black milk crate. 144” x 96” x 1/2”

Documentation photography by Meghan Olson.

Remember me Beautiful (Recuerdame Bonito), 2021
Text and images burned into flesh of wooden pallets, and reclaimed objects. Dimensions variable.

Documentation photography by Emma Beatrez.

Always Tomorrow (Siempre Mañana), 2021
Graphite and motor oil on archival paper. Dimensions variable.

Documentation photography by Emma Beatrez.

Still Water Clay Mound, 2021
Latex primer on reclaimed plastic tarp, burned drawings on pallet wood. 74” x 97” x 4”

Documentation photography by Emma Beatrez

In Between / Underneath
(Entremedio / Por Debajo), 2018 - 2019
Stencil prints with mud, a mixture of unfired clay, water, sawdust, charcoal, and ink. 25” x 40” each print

Sin Título serie
(Untitled series), 2020
2 out of 20 unique Collograph prints on handmade natural flax paper
30” x 40” unframed

Shelter Becoming, 2020
9 hour performance
Shovel, dirt mound
Measurements vary

La Tarea de Reconocer un Cuerpo (The Task of Recognizing a Body)
6 hour performance with mop, buckets of water, black cloth
2019

Poemas de Amor (Love Poem series) installed with wooden benches
12 x 18” each print
Charcoal on newsprint, reclaimed wood
2018 - ongoing

Con Amor y en Solidaridad Siempre
poetry reading as part of the Walker Art Center’s Citizenship Series
2019

Documentation photography by Galen Fletcher

Entre Rios y Montañas (In Between Rivers and Mountains)
performance with charcoal rubbing on wooden pallet
measurements vary
2019

Lo Que Tu Me Deseas Dios Te Lo Duplicara
measurements vary (4’ x 6’ canvas)
2018

Por el amor de Dios
(For the love of God)
stencil print using charcoal on wall
28“ x 28” x 8”
2018

Seas the Día
stencil print on fabric, wood, thread
measurements vary
2018

In collaboration with Christina Graham and Grace Colletta. Made as part of an artist in residency program facilitated by the Avalon on Cuttyhunk Island, MA

Niño (Boy)
stencil print using water on sand
measurements vary
2018

These Clouds Will Not End But Labor Does
brown body, xerox transfer prints on rocks
measurements vary
2018

Sin Título (Untitled)
stencil prints using charcoal on wall, butcher paper
measurements vary
2018

Tu y Yo (You and I)
canvas stencil print using light on shed, wood frame, clamps
measurements vary
2018

Project in collaboration with Dasha Bea as part of an artist-in-residency program facilitated by Epicenter, Green River, UT

El Día Que Me Encuentren (The Day They Find Me)
collographs on vellum, toner print, black frames, lighting, power strip
measurements vary
(8” x 10” each)
2018

Con Amor, Siempre
collographs on rice paper, nails
measurements vary
(15” x 20” each)
2018

Tribunal
lithography on paper, thread, nails
measurements vary (8” x 10” each)
2016-2017

Print Study #13
collograph on paper
48” x 36” unframed
2017

Print Study #9
original poem: Buenos Aires by Marjorie Agosín
xerox transfer on wall and floor
6” x 5” x 3"
2017

Print Study #4
xerox transfer on paper
30” x 22” unframed
2017

JONATHAN HERRERA SOTO

Vermont Studio Center Fellowship, 2018