Art becomes a bridge when it succeeds in transmitting the essence of a community. This is demonstrated by Oaxacan painter Noé Jacinto, who recently presented his solo exhibition Entre Máscaras y Sonidos in Philadelphia. Although he resides in Mexico, the interview with Impacto took place while the artist was in Washington, D.C., where he was coordinating his next exhibition at the Mexican Cultural Center. Regarding this new project, he noted: “I just had a meeting to plan my next solo exhibition here.”
An exhibition created in the United States
The show presented at the Mexican Consulate in Philadelphia was conceived during a five-month stay in the country. The artist explained that the entire creative process happened here:
“The exhibition was conceived and created in the United States. I lived here for five months and produced all the work for this collection.”
Inaugurated on August 6 and closing on October 28, the exhibition gathered 13 original paintings that reflect his identity and the cultural richness of his community, while also honoring the essence of Día de los Muertos celebration.
Oaxaca as inspiration
For Jacinto, this exhibition holds deep personal meaning. As he describes it:
“It was very meaningful because it speaks about Mexico, about Oaxaca my state and also about my town.”
The artist grew up surrounded by dance, music, and traditional celebrations, as his town is known for its vibrant carnival, a festivity that has shaped his life since childhood.
“Carnival is our greatest celebration. There is so much color, movement, and music. I have been a dancer since I was very young, and the kites are always present.”
The power of color and music
The collection Entre Máscaras y Sonidos takes its name from the core of these traditions. His work, marked by a cubist and geometric style, incorporates an intense palette that reflects the cultural energy of his community. Since childhood, Jacinto lived closely with music thanks to his family: “There are musicians in my family; my father, my mother, and my grandfather all play the guitar.”
All of this directly influenced the development of the exhibition.
The origin of the collection
The first piece created, Carnaval de Pinotepa de Don Luis, became the foundation for the entire concept. From that starting point, the artist developed the rest of the paintings, maintaining a visual language that celebrates Oaxacan movement and identity.
An inspiring body of work
When asked whether he considers this exhibition an inspiring proposal, his response is clear:
“Of course.”
It also stands as a cultural gift to the Hispanic community of Philadelphia, a community he deeply appreciates especially now that he is part of the collective exhibition Migrantes del Mictlán.
The artist closed with an inspiring message: “Allow children to know and explore art; that is what we need for art to continue growing worldwide.”
