Debra Barrera

@dbdbdbarrera

Artist, Prof @uhschoolart , Advancement Team @menilcollection Co-Owner @jonathanhopsongallery , Htown till I drown
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Weeks posts
My artist feature in the 7th edition of @burnaway magazine’s reader is out and at the @menilbookstore ! “The artists, works, and practices found in this volume are larger-than-life, existing as variations from a stereotype and nuanced understandings of the Ghost, the Trickster, and the Siren.” My text is both prose and art historical research aided by the words of curators and historians in the field including @torinerey , Collection Research Assistant at @menilcollection . She and photographer @cphilippone_studio were instrumental in the inclusion of an ancient Jaina whistle found in the Menil’s holdings in this text. My writing weaves early memories of tejano music in Corpus Christi, ghosts of ancestors and their artifacts, and tricksters as they lead me in my own artistic practice: “Tejano meets me where my grandmother’s Vicente Fernández records and my grandfather’s AM radio Banda could not. Amid tremendous loss, this song disrupts death. What feels more alive than unrequited love—what siren song is more alluring and painful?” (On @bobbypulido425 Se Murió De Amor) Go by and grab a copy, let me know what you think. 💫 X db
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9 days ago
I planted nopal over 7 years ago in our garden from paddles found on the side of the road near my hometown in Corpus Christi, TX. Now they tower over our home alongside the Peruvian Apple cactus we inherited that blooms only under moonlight. A constant source of inspiration, their history is one that disrupted an entire financial ecosystem in Europe when the red dye made from the cochineal insect was brought over from the “new world”. Cochineal dye was second only to silver in transatlantic trade and adorned the curtains shown in Velázquez’s Las Meninas. The music made by @jaxcanart is from a nopal species, which gives voice to this entity caught between prehistory and the collision between pre and post colonial trade routes. I came across two of the manuscripts above by way of the @newberrylibrary . The two featured in this post are from 1620 and 1777 respectively, showing the process of collecting cochineal and creating the red dye. Last two images are details of a photograph I made in 2020 and a drawing finished in 2025 that feature Agave, a succulent, which I will share more about in a future post.
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25 days ago
Inspirations for a work in progress from a new drawing series, “Los Irrompibles / The Unbreakables”. The first of this series, “Q” is featured alongside some of my writing in this year’s @burnaway journal, MYTH. The painted portrait features velvet chiqueadors— intricately cut beauty marks en vogue across high society Europe in the 18th century. The limestone figure is attributed to the Huasteca civilization who lived along the northern gulf coast of present day Mexico. Her large headdress is thought to connote prestige or political power. Both adornments call into question the gendered and social implications for the bearer. Two disparate and yet intimately connected individuals marked through the passage of ships and time. | | Juan Patricio Morlete Ruiz (Mexican, 1713–1772). Portrait of Doña Maria Tomasa Durán López de Cárdenas, 1762. Oil on canvas; 102.1 × 84.3 cm (40 3/16 × 33 3/16 in). Galería Coloniart, Collection of Felipe Siegel, Anna and Andrés Siegel, Mexico City. Source: @metmuseum Female Figure, 1200–1521, Huastec culture; limestone; Mexico, Veracruz, Tempoal. Museo de Antropología de Xalapa, Universidad Veracruzana, Xalapa, INV09-211134 @museodeantropologiadexalapauv
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1 month ago
Navigating the Contemporary Art World with Debra Barrera @dbdbdbarrera March 25 - April 22, 2026 Wednesdays, 6:30 PM to 9:30 PM Houston Center for Photography Dive into the professional arts landscape, with this course open to all levels, exploring how galleries, museums, and curators operate, and how you can strategically position your work within contemporary culture. You’ll refine your artistic voice, strengthen your artist statements and grant writing, and learn real-world funding and networking strategies. Walk away with the tools, confidence, and professional presentation skills to amplify your vision and reach the audiences you’re aiming for! Registration via link in bio #professionalpractices #photography  #photographycourse #photographyclass  #houstonphotography
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2 months ago
HCP SPRING OPEN HOUSE Thursday, February 26, 6-9 pm CST Houston Center for Photography Register to join us on Thursday, February 26, between 6-9 pm at our Spring Open House with guest speaker Debra Barrera @dbdbdbarrera who will present her personal work and new HCP course. Have your work reviewed for free and receive valuable guidance on your photography. All registrants will receive a 10% discount on their next class with HCP. RSVP via link in bio
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2 months ago
Special thanks to @denamwoodall and her curatorial team as well as the @mfahouston for including my first print in their exhibition “Taking Flight” up now in the Kinder Building. Big ups to one of the best master printers in TX if not the US, Pat Masterson with @burningbonespress who taught me what was possible in printmaking. Honored to show alongside other incredible Latin artists including #leopoldoméndez and #diegorivera and great draftspeople known locally and internationally. Had to also share that one floor above me are two powers I love to see together, @thisfuchs and @chinatowntaylor , brava to that pairing in “Love Languages” organized by @anicurateslife Seeing my work at the MFAH comes at a pivotal moment as I realize a new series of drawings. It means a lot to see my work up in these galleries. So much has changed since I created this print feverishly mixing up the perfect black ink alongside Pat in the studio. My practice then feels so far from what I create today yet still familiar. What remains constant is a commitment to unveiling truths that disrupt powers seen and unseen, felt and carried. Thank you to the arts community here who continue to share my voice. X D
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10 months ago
Thank you @blafferartmuseum and @erikameichua for including me in this incredibly rare and special exhibition for the Blaffer’s 50th Anniversary. It’s an honor to have my work up next to paintings from the Sarah Blaffer Campbell collection at the @mfahouston ! Congratulations to co-chairs @kblaffer and @sita008 on the best Blaffer gala yet and thank you @robertleroyhodge for working with me on the incredible VIP gift you see @inanimatenature holding in our photo together. ✨ This exhibition is up until Saturday at Blaffer, don’t miss it!
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2 years ago
Large scale photographs from my newest series: the unbreakables / los irrompibles X
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2 years ago
My mother had a birthday last Sunday. One we are so lucky to see together. Here she is long ago in front of the #selenaquintanilla memorial my late father helped create. My family is and has always been in my work: they made art in ways they will never know. Te amaré por siempre 🌹
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2 years ago
@hcponline My large archival pigment print on photo lustre paper, Precious Twin: Blue Carnations #faninflowers This photograph is a unique 1/1 and only available at this year’s @hcponline Auction!! 💕✨🌟
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3 years ago
Details from my work Infinite Granite up @flatspresents and an incredible installation image featuring someone looking at my piece by @robertwboyd2020 from his latest review of the show. For more by Boyd follow: /
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3 years ago
New work opens tomorrow at @flatspresents for my Fantasma Series: Infinite Granite, 2022 Showing alongside the glorious group @epeacock , @brandonthoharris , and @theresae.af Inspired by growing up in my father’s gravestone and casket business, Barrera Monument Company. Some of my earliest memories were walking into a warehouse just like this one, peeking into open caskets, and playing hopscotch on granite slabs and bronze markers. Giant spools of thick beige vinyl would be fed into a machine, eventually becoming stencils: last names, death and birth dates, and early autocad plotted images of who someone was. These stencils would be placed over slabs of granite and marble then etched with a sandblaster. I grew up listening to a deafening echo of men carving names into ancient rocks. Caskets were satin lined rocketships and death was fed through a machine that my father cursed at in Spanish. #tejanahistorias #barreramonuments #venenoparalashadas #debrabarrera
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3 years ago