I believe we are all shaped by the love we give, the love we receive, and the love that surrounds us — in conversations by the grill, in late-night gaming sessions with friends, but also in the intimate, reflective moments by ourselves.
The Daphne Art Foundation presented the exhibition Alexander Barrón’s Love Letter, a heartfelt tribute to the faces and places that have shaped his journey. This collection of oil paintings captures the joy of gathering and celebration, as well as moments of solitude and introspection.
Artist Alexander Barrón at the “Love Letter” opening reception
A Laredo-born and raised, self-taught artist, Barrón has worked extensively with muralism and street art. Love Letter is a coming-of-age reflection on the life of a millennial man on the border, infused with the warm, sun-soaked hues that evoke the summer heat of Laredo.
The exhibition is housed in the historic Casa Daphne in the heart of Downtown Laredo within the St. Peter’s Historic District. The artwork is displayed across three spaces on the first floor. The first room, which greets visitors upon entry, presents a series of images that evoke the essence of family.
Alexander Barrón, “97”
97 was the first in this series. Barrón shared that it was inspired by a Polaroid he found in his mother’s scrapbook — a discovery that came when he sought a more thoughtful approach to his work. He realized he had been creating what was expected of him rather than what truly resonated with him.
Good times was a favorite among many, including myself. The image seems to echo with the joyful sounds of a large family gathered for a casual meal. If you count the figures in the painting, there are twelve, reminiscent of the disciples in The Last Supper.
Predominantly red, the piece carries a striking intensity. As artist Gil Rocha — Barrón’s mentor and collaborator on a public art project on Lafayette Street — noted during a walkthrough after the opening, Good times incorporates sculptural elements: a water bottle and two rope pieces hanging from the ceiling. From the viewer’s perspective, positioned at the end of the table, we become guests at the gathering — much like in Velázquez’s Las Meninas.
The painting captures characters deeply familiar to anyone raised on the border: the aunt standing at the end of the table, who prepared the meal and is the last to sit and enjoy it; the reckless little cousins who can’t remain still, playing and laughing instead of eating. You can almost hear a mother’s voice urging them to behave.
Alexander Barrón, “Good times”
The second room recalls intimate, reflective moments in solitude, at its center stands a sculpture of a broken canvas bearing the phrase “Not Good Enough,” which engages in dialogue with a self-portrait of the artist in the background — depicting him fixing his teeth.
This space also features more festive imagery, reminiscent of teenage nights out. It nods to Barrón’s musical side as a singer and songwriter in the local hip-hop band The Cornerstones. The energy of this theme came to life on opening night when the local indie post-punk band Long Fall performed live in this very room.
The third and final room, located at the back of the house, transports viewers to familiar places around downtown — spaces that both the artist and many of us have inhabited — layered with personal and collective memories.
Alexander Barrón, Maritza Bautista, and Gil Rocha at a walkthrough at Casa Daphne
Having followed Alexander Barrón’s evolution over the past three years, I believe he is a border artist you should definitely keep an eye on. During our walkthrough, Maritza Bautista, Executive Director of the Daphne Art Foundation and curator of the show, and I watched as Barrón stood reading a canvas filled with messages left by attendees on opening night:
“Proud to call you my dad.”
“Dios te bendiga y te siga dando más sabiduría. Te quiere, tu abuelita.” (May God bless you and keep filling you with wisdom. Love, Grandma.)
With that, Love Letter had come full circle.
Love Letter is on view at Casa Daphne through March 7.
