A Conversation With Artist Tan Jazz Mont, "One of Your Girls or Your Homies: Tan Jazz Mont," Dike Gallery, Claremont Lewis Museum of Art, by James Scarborough

Tan Jazz Mont’s exhibition “One of Your Girls or Your Homies” marks a significant moment in contemporary Chicanx art. Presented alongside the Garcia Collection’s historical survey of some of the most important Chicanx artists of the last 50 years, Mont’s work both honors and expands upon traditional narratives by introducing new perspectives on identity and representation in the twenty-first century. Mont’s paintings and sculptures navigate complex territories of cultural heritage and personal truth. His work demonstrates how contemporary artists can engage with traditional Hispanic iconography while speaking to present-day experiences. Through his unique combination of autobiography and social commentary, Mont creates work that questions fixed categories of identity.

The exhibition’s location in the Inland Empire expands the geographical narrative of Chicanx art beyond its historical center in East Los Angeles. Though Mont’s academic background informs his rigorous approach to artmaking, his work remains deeply personal and accessible.

His experimental style combines intuitive creation with thoughtful revision. As a result, his work speaks to both individual and collective experiences. Through this methodology, Mont shows us how contemporary artists can address complex themes of identity while maintaining authentic emotional resonance.

Below follows an email conversation with the artist:

JS: Your exhibition runs parallel to “Home in Aztlán;” which surveys historical Chicanx art. How do you see your work in conversation with these earlier artists? Where does it depart from their approaches?

TJM: I am truly honored to be exhibiting my work alongside these very esteemed artists. I remember reading about some of these artists, like Gronk, for example, in Art History books. I think Chicanx artists have a long history of producing figurative work, so my work definitely plays into that as well. For Chicanx artists, figurative work is rarely just a portrait; there is usually a message that needs to be perceived. I play with that concept a bit. My work always has some storytelling going on, but I don’t mind whether or not people grasp the concept or not because I’m truly a fan of the art of painting. It may seem that my work is mostly inspired by Chicanx art and I can see why people would say that because my work is indeed figurative and colorful.

I remember a professor in college saying that the wealthier you are, the less color you need. That’s always tickled me. It’s true in a way, but if I ever become a millionaire, I assure you that I will be surrounded by color.

That being said, my main artistic inspiration is actually German Expressionism. Learning about that rich movement of defiance just melted my little punk rock heart. leaned into that inner turmoil represented by harsh and deliberate lines married with furious colors. My work is a bit more campy, but German Expressionism is what I look to the most.

JS: The show’s title, “One of Your Girls or Your Homies,” suggests a choice between identities. Discuss how your work explores the complexity of belonging to multiple communities.

TJM: I have always felt different. I know that that seems to be a blanket statement for most, but it’s true and I never knew why. As a young girl I was hyper aware of gender roles, and it essentially just pissed me off, because I never fit into those stereotypes. I was a product of “Comphet,” which is short for Compulsory heterosexuality, which is the theory that heterosexuality is assumed and enforced upon people by a patriarchal and heteronormative society. Once I started to literally just be myself, I discovered that not only was my sexual orientation queer, but that my identity was also queer. I started taking testosterone in 2023 and I had top surgery in 2022. Two of the best decisions I have ever made. I finally feel like I have always wanted to feel. I am in the process of also changing my name and gender. I now go by “Tan” and my pronouns are he/him. I feel privileged to be able to navigate this journey and seek medical assistance at a time where trans people are being persecuted, and my heart breaks for them, truly.

I got the title for my exhibition from a queer musician, Troye Sivan, and that lyric just seemed really fitting for me due to the gender play, as well as the word homie, which is an affectionate term in the Chicanx community.

JS: Most histories of Chicanx art center on East Los Angeles. How has creating art in the Inland Empire shaped your perspective and practice?

TJM: My parents both grew up in East LA. I am actually originally from Los Angeles County. We moved a lot mostly due to unaffordable housing, which is still a huge problem today. I lived in El Monte, Pico Rivera, and Baldwin Park growing up. I did not actually move to the Inland Empire until I got a teaching job at Platt College. I moved to Riverside because the commute from LA County was rough. I see a lot of similarities between LA county and the Inland empire though. There is a comfort in seeing Chicanx people. We understand each other. We get the struggles. I paint about my own personal experiences, but those experiences are often shared by the community.

JS: Your work balances spontaneous creation with careful revision. Discuss how this process helps you engage with traditional Hispanic imagery while creating something new.

TJM: I am thankful for the rich Chicanx art movement, but as an artist I must be conscious of what has come before me and how I can bring something different to the table. I love the process of painting. It is sometimes uncool to call yourself a painter, but I am a painter at its core. I am a ball of anxiety and the only time I can ever turn my brain off is when I am listening to music or painting. I shut off the world and become all consumed with the act of painting and play. I know the rules; I apply them here and there, and when things start appearing too sophisticated, I find ways that I can manipulate parts of the painting. I enjoy the push and pull of colors, textures, shapes, and lines, and how those marks interact with other parts of the composition.

JS: As both an educator and artist, how does your academic background influence your approach to making art about identity and culture?

TJM: I see more of the nuances of life. I have empathy for people in general, even those that I disagree with. I know how important family is in the community. I see why. People of color are often disenfranchised; we oftentimes only have each other. Even with gang members, it’s about a sense of community and brotherhood. I also see the Machismo in my culture and the toxic ways of looking the other way instead of trying to break generational traumas. I recommend everyone taking a Feminism and Queer Culture course. I also understand my own privilege. I remember asking my grandma once if she was a part of the Feminist movement, she laughed and said, Mija I was too busy surviving to complain.

JS: In your paintings and sculptures, what specific techniques or materials do you use to express the interplay between struggle and hope?

TJM: I use acrylic paint, but I also like thick gloopy paint mediums. I enjoy mixed media. I will honestly use any object in the moment if I feel it serves the artwork. I have used sand, pubic hair, stickers, coins, gold leaf, glitter, cardboard, jewelry, you name it.

JS: How does your experience as a queer artist influence the way you interpret and transform traditional Chicanx imagery?

TJM: I am in a unique position to have one foot in traditional culture, another in queer culture, another in pop culture and punk and goth subcultures, another in academia. (I have a lot of feet apparently).

JS: Your work addresses serious themes while maintaining elements of humor. How do you achieve this balance?

TJM: This is my favorite thing to do. I enjoy tackling complex and difficult issues because I am hyper aware of the inequalities and injustices of my culture as determined by the status quo and those in power. I also very much admire social and political art for their gusto and saying all the things that need to be said. They are pioneers. They’re the Punks and Riot Grrrls. My personal narratives may address these same issues, but I like to do so with a wink and nod. I am super gay. I am drawn to camp. John Waters is a personal hero of mine. I love drag. I love color and doing things “wrong.” I am glad that I have a sense of humor because it has helped me deal with my own traumas along with the traumas of life. I also like inviting people in more by luring them with wackiness as opposed to maybe hammering them over the head with what I may be trying to communicate.

JS: Discuss how abstraction helps you tell personal stories in your work. Why do you choose to move between representational and abstract forms?

TJM: My paintings have a storytelling component based on real events, but within the painting itself I often change the outcomes. I am creating my own fantasy world in a way that combines both fuzzy and crystal-clear memories and experiences. I make sense of all that with the combination of figures as well as abstraction and playing with scale.

JS: How do you envision your work advancing the trajectory of Chicanx art?

TJM: I think we are finally here. I don’t consider myself just a Chicanx painter. I am simply a painter. The Chicanx culture is vast and varied and more of our voices need to be represented so that we can be seen. As we should.

The exhibition runs through March 23, 2025. Art Walks are on January 4, February 1, and March 1. The Museum is located at 200 W. First Street in the historic Claremont Depot, Claremont, CA 91711. Museum hours are Friday, Saturday, and Sunday from noon to 4 p.m. Admission is free every Friday. For more information, click here.

Get off your high horse, 2022. Acrylic and mixed media on canvas, 48” x 60"

Before it all turned to sh—t, 2022. Acrylic on canvas, 48” x 60”