We sat down with David Amoroso for a conversation about the energy, emotion, and cultural influence behind his bold and vibrant art. David is MoCA’s current Artist-in-Residence, where he engages with the public while actively creating and developing new work. Whether he’s painting Frida Kahlo or reimagining masculine identities through floral patterns, his work celebrates the richness of Latin America culture while challenging viewers to reconsider the familiar.

Thinking back to the start of your journey, is there an early piece of art you created that still feels significant to you today?

I've been painting for close to 30 years now, so I am always surprised that I continue to feel such a connection to the older pieces. I can't say that there is one painting that always feels significant, but I can say that certain exhibits of work do. My very first exhibit at El Tamarindo contained several pieces that have become "iconic" to me, and my "Entre Dos Mundos" exhibit at the ARTfactory felt like it really told my story through the paintings.

Your love of Latin culture shines through in your work, from Dia de los Muertos altars to Guatemalan Alfombras de Aserrín and depictions of Latino products and iconography. How do these cultural traditions and symbols shape the emotional or conceptual core of your artistic expressions?

Cultural activities and experiences definitely influence and shape our lives on so many levels. I'm always inspired by the products and folk-art I have come across, so they usually end up incorporated into my art and become a part of my daily life. Recently I made a painting of a Frijolero (Bean Pot) that had been sitting on a table in my home for over 20 years. I always thought it was beautiful, but it never occurred to me that I should paint it until a few months ago. Learning how to create an Alfombra de Aserrín with my friends from Guatemala was such an amazing collaborative experience. From hand-dyeing the sawdust to creating the design, it was a grounding experience to participate in a tradition that dates back hundreds of years. Celebrating Dia de los Muertos in Mexico for the first time was such a sensory overload that I am still able to visualize it in my mind, hear the voices and music, taste the food, and smell the marigolds and incense. In the early 2000s, my friend Ernesto and I were asked to recreate an authentic experience at the Arlington Arts Center (now MoCA), and the Dia de los Muertos celebrations have taken place there ever since. When all is said and done, the cultural traditions and symbols have become comforting and feel like home to me.

Your work often features bilingual elements, both visually and contextually. How do you approach the use of language – Spanish and English – as a cultural bridge or artistic layer?

I have never thought about my work this way, but I would have to say that it feels more like a bridge. Or maybe it is more accurate to say that it is a door inviting people to enter and enjoy a beautiful culture? I usually don't decide how or what the art will communicate up front. Most of my painting concepts pop into my head before I even pick up a pencil or paint brush, so they begin without much initial thought. When I have "good" idea, my first response is to create the painting so I can share it with others. As I am working on the paintings, I begin to understand what I am trying to say and intentionally add new details. Sometimes the work speaks in English, and other times it speaks Spanish.

From corner store snacks to iconic singers, you elevate everyday objects and people into art. What draws you to these symbols of cultural daily life, and what do you hope viewers take from them?

To me, Pop Art is all about elevating something familiar into something spectacular. My paintings reflect the past, as well as newer subjects that will eventually become the past. When an iconic symbol is painted on a large canvas, it becomes an attention-seeker. It makes us stop and look at it more closely. It reminds us that it should be appreciated. Painting iconic symbols allows me and my paintings to connect with viewers on so many different levels. Just about every person I meet shares a story with me about their connection to my art. I think that the viewers take positive energy and a sense of connection from seeing my work.

In your ‘Top of the Pops’ series, you spotlight musicians from Annie Lennox to Bad Bunny. Is there a particular album or even a specific song that has deeply influenced your artistic style or inspired a piece?.

I have always loved music, so creating an entire exhibit of music icons felt like my very own AmorosoART Spotify channel! I grew up on 70s pop rock and then became fully immersed in the New Wave/Punk music scene of the late 70s and early eighties. I still love Indie Rock of the 90s, but now I am totally into Rock and Hip Hop en Espanol. "Cuando La Sangre Galopa" (Jaguares) is definitely one of my go-to CDs when I paint. It covers so much emotional territory and somehow manages to sound fresh after so many years.

After your residence in MoCA’s Iinnovation Sstudio is over where can we find you next?

I will be exhibiting at ARTfactory (Manassas), Stem & Vine (Baltimore), Kemp Center for the Arts (Texas), Smithsonian/NMAI (Washington, DC), The Martin Gallery (Richmond), and then back at MoCA Arlington on November 1st for their Dia de los Muertos celebration. It seems like my schedule is always changing, so it is best to follow me on Instagram to see what is new! Follow me @amorosoart

Come hang out with David Amoroso for a conversation with Innovation Studio Curator & Residency Program Manager, Amanda Jirón-Murphy. It’s happening Saturday, August 23 at 2PM at the Innovation Studio + Store, located at 525 14^th St S, Arlington, VA. The Innovation Studio + Store hosts regular, weekly, art programming throughout the year.