The following text is an excerpt from Hunter Kissel’s review ”Interwoven: A Tribute to Enid Yandell”:
By confining artificial grass within square frames, Leticia Bajuyo emphasizes the omnipresence of inauthentic landscapes, especially within metropolitan areas, and the ways in which the containment of nature is a common element in urban design. Bajuyo’s works read like city blocks awaiting construction to begin or as small patches of green space accompanying sidewalk paths. Depictions of buildings and highways are missing in Hyperglass: Triple (2018), but spherical contours colliding with the frame and each other stress the extent to which nature can become a tertiary factor in city planning, relegated to the status of destination or momentary adornment.
WFPL, National Public Radio Louisville, Kentucky
"Happiness, at a Cost': Art in the Fly-Over States at KMAC's The 7 Borders Exhibit"
by Erin Keane, August 28, 2013
The following text is an excerpt from WFPL Arts and Humanities.
Bajuyo, an associate professor of art at Southern Indiana's Hanover College, grew up in Metropolis, Ill., across the Ohio River from Paducah, Ky. Bajuyo contributed an installation of toy-influenced houses to "The 7 Borders" titled "Pre-fab(ulous) Environments," which explores the contradictions between value and trash in the creation and deconstruction of the American dream in the so-called "fly-over" states.
The installation contains four houses that decrease in size, from a children's playhouse- sized sculpture down to Monopoly game piece-sized houses. One sculpture that evokes a dollhouse contains a video animation created from Google maps information culled from neighborhoods specific to the community in which the installation travels. Patrons can contribute to the installation by decorating and assembling a small house that resembles a McDonald's Happy Meal carton when finished. The primary material used throughout the installation is Styrofoam.
South Bend Tribune
"Biennial paints exuberant portrait"
by Evan Gillespie, August 1, 2013
The following text is an excerpt from the South Bend Tribune
The sculptures of Leticia Bajuyo (Madison, Ind.) are even more intimately connected to the gallery. Her immense, glittery, three-dimensional tunnels were created specifically for the site, and they are so organic and imposing that you effectively get the impression that they’re right where they belong; if you know that the CDs used in the sculpture came, at least in part, via local donations of old discs to the museum, the effect is even more pronounced.
Beyond its statement about place, the work of Bajuyo is simply fun, and that’s a consistent part of the show, too. Although it wouldn’t be right to say that the show is necessarily across-the-board cheerful, it is undeniably not somber. Contemporary art, at least as seen through this intentionally narrow-angle Midwestern lens, is, it seems, an exuberant exploration of sensory stimulation that is unwilling to be limited by the old rules and pigeonholes.
"Recall and Wow and Flutter at Vox"
by Alison Mcmenamin, March 14, 2011
Leticia Bajuyo’s individual works also contribute to this feeling of being overwhelmed. Her framed player piano rolls seem like historical documents to be analyzed and preserved. In “Player Piano Diagram” the artist illustrates the self-playing instrument. Despite the drawing’s seemingly straightforward objective to provide a diagram, the work points to the limited information that can be gleaned from a representation. The artist’s other works also adopt an analytical approach, providing more information and forcing us to recognize our own historical distance and lack of understanding.
Cressman Center, Curator’s Statement
New Values: everyday objects into art objects
by Joey Yates, October, 2009
The following text is an excerpt from Louisville curatorial statement 2009.pdf
The objects that make up the artwork in this show have already been ascribed cultural value. Most of us have probably used nearly every item we see in the gallery, or at least a similar item. An artist is a person who possesses that rare ability to give these items new values. That ability is no way limited to just the movable objects within our physical world, but text, flesh, air, plants and animals are all potential candidates for constant re-evaluation and update. It has been nearly a century since Marcel Duchamp created the artistic practice of taking such objects and ascribing new value to them, as in his souvenir piece Paris Air (50 cc of Paris Air) of December 1919. That tradition has given rise to artists who are very intrigued by the meta-narrative that has filtered through the modern world in order to make sense of our physical connection to the planet and each other. These artists collect, display, and demonstrate these connections in order “to show the nature of the world and of man within it by arranging the collected material in particular patterns, which reflect, confirm, and project the contemporary world view.”3
Taken together the work of Louis Bickett and Leticia Bajuyo represent the shared experience we all have of relating to the material culture. Our experiences with certain objects are how we distinguish one another. There are different objects for different classes, men and women, children and adults. We communicate so much information through the objects we use; many of the signals we send to each other are through our use of objects in the material world. Selection is an important part of the work that Louis and Leticia do. What value or lack of value does an object need to have in order for it to be used in a sculpture by Leticia or arranged into a tableau by Louis?
Leticia and Louis both explore multiple ways we can understand the place in which we live. The three dimensional objects that are often the raw material for their works are arranged in ways that speak to a specific environment in a specific time and place. They address our relationship to nature or to those everyday objects most often seen as mundane or prosaic. Duchamp himself was only encouraged to construct a readymade from those objects that he held little opinion about one way or the other in regards to aesthetic appreciation. Ambivalence towards an object was the feeling he sought most when deciding on which items to use.
"Entertainment: Best bets"
by Konrad Marshall, July 12, 2009
In this unique exhibition experience, three regional curators were invited to select one artist from their city or region to exhibit a temporary installation at Herron. Entropy, artist Leticia Bajuyo's work, is the standout. The stunning piece utilizes more than 5,000 CDs and DVDs strung together with fishing wire, layered over a 2-by-4 wall to create a vortex resembling a fallen tornado.
"Installations spring to life"
by Konrad Marshall, July 19, 2009
Installation is as old as art itself. An ancient Aboriginal wall painting could easily be described as an installation, though in modern times artists often install works that are sculptural, with a specific site in mind, and encourage their audience to become part of the work.
The work of 33-year-old Leticia Bajuyo, an associate professor of art at Hanover College, fosters viewer exploration.
"Entropy: A Vortex of Useless Memory" -- which is part of an installation show called "3 X 3" at Herron School of Art and Design -- resembles a shimmering, reflective wall and cave and was constructed using 2-by-4s, fishing wire, cable ties and almost 5,000 compact discs, all of which were donated by "co-contributors" to the project. The piece incorporates everything from old Microsoft licensing discs to a pirated copy of "Mad Max" to a burned love songs mix CD
The above texts are excerpts from the Indianapolis Star
"Big Little Books: Morgan Conservatory launches a seminal show"
by Douglas Max Utter, April 15, 2009
The following text is an excerpt from Cleveland Scene
The 137 contemporary small works of art at Monumental Ideas in Miniature Books - MIMB as it's called at flickr.com where the whole show is documented), painstakingly assembled by Hui-Chu Ying, associate professor at the University of Akron's Myers School of Art, constantly surprise the viewer with innovative combinations of materials, presentation and subject matter.
Images vary from the horrific to the delightful; deadly serious subjects rub shoulders with whimsy. Relatively conventional fold-out formats predominate, seeming a little fusty (though often exquisitely well-constructed) next to the delicious funkiness of a piece like Leticia Bajuyo's "A Wonderful Toy," with text handwritten along the curls of a fuchsia-colored Slinky.
Each [artist] produced five copies of a work slated to appear at venues around the U.S. and, so far, in nine other countries (including Sweden, Japan, Spain, Italy and Mexico) over the next three years.