René Treviño

Regalia Series

The Regalia works are a series of fiber sculptures that fuse Aztec Regalia and European Coronation robes, remixed with my queerness and all my other lived and specific perspectives. They posit an alternative to the way colonialism has worked historically. Colonialism has always been about pillaging, rape, and annihilation. How could these big human contact points, the Spanish conquering the Aztecs for example, have played out differently? Could they be peaceful and celebratory and mutually beneficial? There isn’t an example of that historically, because humanity is terrible, but I have a profound wish that we could grow and evolve past this violence into something that honors our identities and humanities.

Regalia, Intuition, Premonition, and Foresight

Regalia, Intuition, Premonition, Foresight, 2024, velvet, peau de soie, faux fur, leather, feathers, sequins, beaded trim, taxidermy form, appliques, and rhinestones, installation view at the Wellin Museum of Art, dimensions variable.
Regalia, Premonition, 2024

Regalia, Premonition, 2024, velvet, peau de soie, faux fur, leather, feathers, sequins, beaded trim, taxidermy form, appliques, and rhinestones, dimensions variable
Regalia Series, detail, 2024

Regalia, Premonition, 2024, detail
Regalia Series, detail, 2024

Regalia, Premonition, 2024, detail
Regalia Series, detail, 2024

Regalia, Premonition, 2024, detail
Regalia, Moscas Brillantes (Negro), 2025

Regalia, Moscas Brillantes (Negro), 2025, velvet, leather, rooster and goose feathers, plastic flies, sequin and lace appliques, beads, ceramic, approximately 50 x 40 x 42 inches
Regalia, Moscas Brillantes (Negro), 2025, detail

Regalia, Moscas Brillantes (Negro), 2025, detail
Regalia, Moscas Brillantes (Rojo), 2025

Regalia, Moscas Brillantes (Rojo), 2025, velvet, leather, rooster and goose feathers, plastic flies, sequin and lace appliques, beads, ceramic, approximately 50 x 40 x 42 inches
Regalia, Moscas Brillantes (Rojo), 2025, back view

Regalia, Moscas Brillantes (Rojo), 2025, velvet, leather, rooster and goose feathers, plastic flies, sequin and lace appliques, beads, ceramic, approximately 50 x 40 x 42 inches
Regalia, Moscas Brillantes (Rojo), 2025, detail

Regalia, Moscas Brillantes (Rojo), 2025, velvet, leather, rooster and goose feathers, plastic flies, sequin and lace appliques, beads, ceramic, approximately 50 x 40 x 42 inches

Celestial Body-ody-ody Series

The title for this series is a conflation of the phrase “celestial bodies” and a repeating lyric from the popular song “Body” (2020) by R&B performer Megan Thee Stallion. In the Celestial Body-ody-ody series, I metaphorically decolonize particular spaces or question institutional claims of ownership over objects and environments often through the juxtaposition of entities of different scales from the micro to the macro. Here, for instance, the inclusion of several pieces of coral is meant to prompt questions regarding how oceans and reefs can be governed by nation states; the appearance of a carved Aztec disk problematizes museums’ entitlement to possess cultural artifacts; and the display of several celestial bodies—often bearing the names of their discoverers—points out the irony of individuals claiming planets, moons, and portions of the cosmos they will never visit. The issue of ownership is explored further through the inclusion of several “knots” by Albrecht Dürer (1471–1528). These decorative motifs were the result of Dürer tracing intricate engraved designs first produced by his contemporary Leonardo da Vinci (1452–1519), who himself was most likely incorporating interlace patterns from ancient Roman, medieval, and Islamic ornamental designs into his own work.

Celestial Body-ody-ody series, 2022–23

Celestial Body-ody-ody series, 2020–23, acrylic on Dura-Lar archival film, 21 paintings at 36 x 36 inches each
Celestial Body-ody-ody series, Dürer Knot, Ultramarine, 2023

Celestial Body-ody-ody series, Dürer Knot, Ultramarine, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Golden Objects, Ultramarine, 2023

Celestial Body-ody-ody series, Golden Objects, Ultramarine, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Mayan Jaguar, 2023

Celestial Body-ody-ody series, Mayan Jaguar, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Junior Deacon’s Jewel, 2023

Celestial Body-ody-ody series, Junior Deacon’s Jewel, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Mica Moon, 2023

Celestial Body-ody-ody series, Mica Moon, 2023, acrylic and mica flakes on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Moche Burials, 2023

Celestial Body-ody-ody series, Moche Burials, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Mercury, Pearlescent Blue, 2023

Celestial Body-ody-ody series, Mercury, Pearlescent Blue, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
elestial Body-ody-ody series, Aztec Disk, Turquoise, 2023

Celestial Body-ody-ody series, Aztec Disk, Turquoise, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches
Celestial Body-ody-ody series, Brain Coral Halo Blue, 2023

Celestial Body-ody-ody series, Brain Coral Halo Blue, 2023, acrylic on Dura-Lar archival film, 36 x 36 inches

Walls of the Yucatán

Nationally, we have been having a lot of conversations about walls and borders. Who has access? Who gets to permeate these barriers? I made these paintings from a series of photographs I took while traveling to ancient Mayan sites throughout the Yucatán Peninsula. I was drawn to these walls from Chichen Itza, Coba and Tulum and to these handmade bricks and stones. In Mayan times these would have been covered over with Stucco. Because these sites are now ruins, the stucco has eroded away and reveals these amazing, very human surfaces. I love imagining the hands that made them and the way they might have looked at the height of the Mayan Empire.

These are meticulously hand painted with acrylic paint on Mylar, and cover the entire surface of the 48 x 36 inch picture plane.

Walls of the Yucatán, 2019

Hand-painted acrylic on Mylar, six panels at 48 x 36 inches each
Walls of the Yucatán, Carmine Red, 2019

Hand-painted acrylic on Mylar, 48 x 36 inches
Walls of the Yucatán, Red Vermilion, 2019

Hand-painted acrylic on Mylar, 48 x 36 inches
Walls of the Yucatán, Sahara Yellow, 2019

Hand-painted acrylic on Mylar, 48 x 36 inches
Walls of the Yucatán, Veronese Green, 2019

Hand-painted acrylic on Mylar, 48 x 36 inches
Walls of the Yucatán, Turquoise Blue, 2019

Hand-painted acrylic on Mylar, 48 x 36 inches
Walls of the Yucatán, Ultramarine, 2019

Hand-painted acrylic on Mylar, 48 x 36 inches
Walls of the Yucatán, Carmine Red

2019, detail
Walls of the Yucatán, Sahara Yellow

2019, detail
Walls of the Yucatán, Ultramarine

2019, detail

Reclaiming the Constellations

This work plays on the subjectivity of the past, which is seen through the lens of those with the power to write it. Who gets to name the constellations? Why do they have names like Cassiopeia, Andromeda, Perseus, etc. when they had been named previously by other cultures? In renaming the constellations, I strip them of their Greek/Western mythos. The high key color or rainbow also brings to mind a variety of meanings—the calm after a storm, a celebration of bounty and variety, and most importantly, a symbol of pride for the LGTB community. As we become aware of our insignifigance in the universe, we can remember that the stars and constellations had names before the ones we know and remember and will have different names long after we are gone.

Reclaiming the Constellations, installation view, 2019

Hand-painted acrylic on panel, three panels at 48 x 48 x 2 inches each
Reclaiming the Constellations, Super Trooper, 2019

Hand-painted acrylic and rhinestones on panel, 48 x 48 x 2 inches
Reclaiming the Constellations, Jaguar, 2019

Hand-painted acrylic and rhinestones on panel, 48 x 48 x 2 inches
Reclaiming the Constellations, Jaguar, 2019

Detail
Reclaiming the Constellations, Birds of Paradise, 2019

Hand-painted acrylic and rhinestones on panel, 48 x 48 x 2 inches
Reclaiming the Constellations, Gold Stars, 2019

Hand-painted acrylic, rhinestones, sequins, beaded appliques and embroidered patches on panel, 18 x 18 x 1.5 inches
Reclaiming the Constellations, Comets, 2019

Hand-painted acrylic, rhinestones, sequins, beaded appliques and embroidered patches on panel, 18 x 18 x 1.5 inches
Reclaiming the Constellations, Black Stars, 2019

Hand-painted acrylic, rhinestones, sequins, beaded appliques and embroidered patches on panel, 18 x 18 x 1.5 inches
Reclaiming the Constellations, Origins, 2016

Hand-painted acrylic on panel, 48 x 48 x 2 inches
Reclaiming the Constellations, Origins, 2016

Detail

Dropping Like Flies

Dropping Like Flies, 2018 is an installation created for the Old Jail Art Center (OJAC) in Albany, TX. The piece is comprised of 5 acrylic paintings of the Mayan death god on metallic leather surrounded by over one thousand hand gold-leafed and rhinestoned flies. At the base of the installation are 6 ceramic skulls that are wearing heart-shaped sunglasses and wreaths of bridal/quincinera flowers. This project started with research of Mesoamerican objects in OJAC's permanent collection. This was the first time I was able to install my work alongside historical objects.

Dropping like Flies, 2018

Painted representations of the Mayan Death God on metallic leather with rhinestones and sequins; plastic flies with gold leaf and rhinestones; ceramic gold skulls with artificial flowers, sunglasses, sequins and rhinestones, dimensions variable. Installation view of project installed at the Old Jail Art Center in Albany, TX in 2018.
Dropping Like Flies, 2018

Installation view of Dropping Like Flies, 2018 installed at the Old Jail Art Center in Albany, TX.
Dropping Like Flies, 2018

Detail view of Dropping Like Flies, 2018.
Dropping Like Flies, 2018

Each of the 1000+ flies were individually gold-leafed and rhinestoned.
Dropping Like Flies, 2018

Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
Dropping Like Flies, 2018

Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
Dropping Like Flies, 2018

Hand-painted representation of the Mayan death god. Acrylic, rhinetones, and sequins on metallic leather.
Dropping Like Flies, 2018

Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
Dropping Like Flies, 2018

Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.
Dropping Like Flies, 2018

Detail of a gold ceramic skull wearing rhinestone sunglasses and wreaths of bridal/quincinera flowers.

CODEX

CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into these historical images.

Magic, 2018

Acrylic and embroidered patches on paper, 42 x 60 inches.
Odalisque, 2018

Acrylic and rhinestones on paper, 42 x 72 inches.
Ballplayers in Love, 2018

Acrylic on Mylar, 42 x 80 inches.
Smiling Monster, 2018

Acrylic and rhinestones on paper, 48 x 42 inches.
Palm, 2018

Acrylic on paper, 42 x 50 inches.
Slavery, 2018

Acrylic on paper 42 x 65 inches.
Embrace I, 2018

Acrylic and rhinestones on paper 42 x 42 inches.
Embrace II, 2018

Acrylic and rhinestones on paper, 42 x 42 inches.
Fragment I, 2018

Acrylic and embroidered flower on paper, 14 x 17 inches.
Fragment II, 2018

Acrylic and buttons on paper, 14 x 17 inches.

CODEX

CODEX is an ongoing series of paintings that reference Mayan and other Mesoamerican art objects (ceramics, bas relief sculptures, codices, etc.) filtered through a contemporary queer aesthetic. As a community we are having a discussion about the importance of representation in contemporary art. In these paintings I insert queer narratives and ideas into historical images.

Sacrifice (Parade) I and II, 2017

Acrylic, rhinestones, gold leaf, on paper, two panels, 48 x 96 inches each
Sacrifice (Parade I), left panel, 2017

Acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
Sacrifice (Parade), left panel, detail, 2017

Left panel detail, 2017, acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
Sacrifice (Parade II), right panel, 2017

Acrylic, rhinestones, gold leaf on paper, 48 x 96 inches
Codex, Day and Night, 2014

Acrylic, gold leaf and rhinestones on Mylar, 40 x 30 inches each
Maize Cross (Rainbow), 2014

Hand-painted acrylic on Mylar, 11 x 14 inches
Tree of Life, 2014

Hand-painted acrylic on Mylar, 11 x 14 inches
Pakal's Coming Out Story, 2014

Hand-painted acrylic on Mylar, 11 x 14 inches
Sacrifice (Not Napping, Tired from Picking Cotton and Making Art All Day), 2017

Acrylic, rhinestones, gold metallic leather on paper, 96 x 48 inches
Sacrifice (My Heart Will Go On), 2017

Acrylic, rhinestones, feathers, on paper, 96 x 48 inches

Onward

Through my research, I have learned that some ancient Mexican codices were drawn and written on animal skins. Inspired by this, I am creating a series of paintings on metallic hides. Painting on the animal skins recalls the act of making the original codices; I use bright metallic gold, silver and bronze skins to represent the natural treasures and artifacts that were stolen from the indigenous people during the Spanish conquest.

Additionally I am making short animations. The goal with the animations is to make the paintings move and to give them a new kind of context, but also to give the work a life outside traditional gallery spaces.

Death and Zero, 2017

Acrylic, rhinestones, and embroidered flowers on metallic leather, 36 x 24 inches.
The Roses of Palenque, 2017

Acrylic, rhinestones, and sequined floral patches on metallic leather, 45 x 36 inches.
Dorado (Oreo), 2017

Rhinestones on gold metallic leather, 24 x 24 inches
Dorado (Calendario), 2017

Rhinestones on gold metallic leather, 24 x 24 inches
Dorado (Maria Cookie), 2017

Rhinestones on gold metallic leather, 24 x 24 inches.
Rainbow Jaguar, 2017

Acrylic and rhinestones on metallic leather, 22 x 22 inches
The Time Has Come…, 2017

The Time Has Come…, 2017, digital animation, 3 minutes
Sacrifice, 2017

Digital animation, 30 seconds
An Eagle Can Fly Over Your Wall, 2016

Digital Animation, 20 seconds
Day/Night, 2017

Digital animation, 43 seconds

Renaming the Constellations

This work plays on the subjectivity of the past, which is seen through the lens of those with the power to write it. Who gets to name the constellations? Why do they have names like Cassiopeia, Andromeda, Perseus, etc. when they had been named previously by other cultures? In renaming the constellations, I strip them of their Greek/Western mythos. The high key color or rainbow also brings to mind a variety of meanings—the calm after a storm, a celebration of bounty and variety, and most importantly, a symbol of pride for the LGTB community.

Renaming the Constellations, 2016

Hand-painted acrylic and rhinestones on Mylar, six panels at 36 x 36 inches each
Renaming the Constellations, Red, 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Renaming the Constellations, Orange, 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Renaming the Constellations, Yellow, 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Renaming the Constellations, Green, 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Renaming the Constellations, Blue, 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Renaming the Constellations, Violet, 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Reclaiming the Constellations (Lotería), 2016

Hand-painted acrylic and rhinestones on Mylar, 36 x 36 inches
Reclaiming the Constellations (Lotería), 2016

Hand-painted acrylic and rhinestones on Mylar, fifteen panels at 18 x 18 inches each
Reclaiming the Constellations (Lotería), 2016

Hand-painted acrylic and rhinestones on Mylar, fifteen panels at 18 x 18 inches each

Axial Precessions

The Axial Precession works are a new series of paintings of round forms, including celestial bodies, cultural and art historical objects and patterns, star charts and astrological maps. There is something reassuring and meditative in these repeated mandala forms. The viewer is simultaneously very small in relation to space and the cosmos and omniscient.

Axial Precessions, 2012-2014

Hand-painted acrylic on Mylar, twenty-one works at 36 x 36 inches each
Axial Precessions, Han Dynasty Mirror, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches
Axial Precessions, Moon, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches
Axial Precessions, Tonatiuh, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches.
Axial Precessions, Iron Bowl, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches.
Axial Precessions, Pájaro, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches
Axial Precessions, Aztec Skull, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches
Axial Precessions, Souvenir, 2013

Hand-painted acrylic on Mylar, 36 x 36 inches
Axial Precessions, Louvre Lion

2013, hand-painted acrylic on Mylar, 36 x 36 inches.
Axial Precessions, Star Chart (Cobalt), 2013

Hand-painted acrylic on Mylar, 36 x 36 inches