dialogue
José Jun Martínez | Artist
April 2025
5 min read
We had the pleasure of speaking with José Jun Martínez and exploring his artistic journey from Puerto Rico to London. José’s work reflects a profound connection to nature and solidarity with his homeland, shaped by political and economic challenges such as settler colonialism and resource exploitation. His paintings strike a balance between beauty and protest, embodying a "mysticism of open eyes" that embraces both suffering and awe with love and justice.
José Jun Martínez recently concluded a solo exhibition at Matt Carey Williams Gallery in London, marking a transformative milestone following his MA at the RCA. He is grateful for the warm reception and is now preparing for his next show as part of the Valerie Beston Artists’ Trust Prize.
His joy as an artist stems from moments of clarity and connection with his vision in the studio. Teaching art has enriched his perspective on creativity and the fundamental aspects of artistic expression. Looking ahead, José Jun Martínez anticipates gradual, long-term growth in his practice, exploring new themes and mediums while honoring his Puerto Rican heritage and engaging with art history.
Image of José Jun Martínez. Photo by Sara Sahores
Hey José! You described Puerto Rico as a land "threatened by political and economic structures." How do these challenges influence your practice?
“I’ve learned and developed my practice and my whole life in Puerto Rico before coming to London. It is the place I call ‘home.’ I consider myself a painter of the life that beats from within nature. This approach comes with a sense of solidarity. In the statement you refer to, I point out the impact in my work made by the political and economic aspects of Puerto Rican life, characterized by settler colonialism, displacement, and exploitation of natural resources, among other forms of violence.
In that same statement, I also mention that, ‘I insist on painting as an act of reaffirmation while holding the tensions between beauty and violence, praise and lament, celebration and protest.’ My practice aligns with a tradition of ‘mysticism of open eyes,’ which looks into the world’s suffering with love and justice, while also paying attention to all that which is deserving of awe.”
José Jun Martínez, That which is hidden (La Jurada y Paroxismo), Oil on canvas, 150 x 250 cm, 2025.
Congratulations on your show at Matt Carey Williams Gallery in January 2025! Could you please share your emotions throughout the process of creating works and exhibiting your first solo show in London?
“Thank you! It was my first solo show in London and my first project after my MA from the RCA. It was a lot about processing where I am after that intense experience in the programme and my first year and a half in the UK. It revealed to me how my relationship with the themes and motifs I’ve been working with for years has now changed, enriched by what I’ve learned in my time in this city. I’m grateful for how well the work was received. I’m already working on a forthcoming exhibition in London next September as part of the Valerie Beston Artists’ Trust Prize, which I received during the Degree Show.”
José Jun Martínez, With the heart pierced by stars, Oil on canvas, 80 x 60 cm, 2025.
What has been the most joyful moment in your journey as an artist so far?
“The most joyful moment comes again and again in the studio when I’m painting, and I face myself with glimpses of what I’m looking for in the long term. Those moments are sudden and fleeting, but they make it all worth the effort.”
José Jun Martínez, The humble mode of the string of water, Oil on canvas, 80 x 60 cm, 2025.
How has teaching art impacted your perspective as a creator, and what fulfilment do you find in sharing your knowledge with others?
“It’s been a while since I’ve last taught on Painting. My main goal as a teacher was always to accompany people in discovering their ability to create something they could identify with and want to share with others. I guess these experiences also reminded me of the most essential aspects of being an artist.”
José Jun Martínez, Between the spectral and the pallid, Oil on canvas, 80 x 60 cm, 2025.
Looking ahead, are there new themes or mediums you are interested in exploring in your work?
“My practice is in a transformative moment (isn’t it always?). I believe in slow, long-term growth in terms of the work. I’m seeing how new forms emerge from old scenarios, and I see many paths opening themselves in front of me in the canvases. I’m revisiting long-time art history references, while imagining dialogues between some of my Puerto Rican masters and those I’ve come to know more about now that I’m in the UK. I’m having fun in the studio and also looking forward to work with creating some three-dimensional objects before the end of this year. Excited to see what will come from that!”
Image of José Jun Martínez. Photo by Sara Sahores
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