Podcast
What’s My Thesis?
Hosted by Javier Proenza · EN
What’s My Thesis? is a podcast that examines art, philosophy, and culture through longform, unfiltered conversations. Hosted by artist Javier Proenza, each episode challenges assumptions and invites listeners to engage deeply with creative and intellectual ideas beyond surface-level discourse.
16episodes
Episodes
Newest firstAll episodes
306 Alex Gonzalez: Painting MacArthur Park, Sign Painting & Narrative Art in Los Angeles
1w ago01:10:58Tap to summarizeIn this episode, Javier Proenza speaks with Los Angeles painter and sign painter Alex Gonzalez about the relationship between place, labor, and artistic practice. Drawing from a lifetime spent in the MacArthur Park neighborhood, Gonzalez describes how its density, street life, and changing social landscape have become the foundation of a narrative painting practice built on observation, symbolism, and allegory. The conversation explores the value of professional sign painting as both a craft and a sustainable career, the realities of maintaining an independent studio practice outside the gallery system, and the challenges of balancing artistic ambition with financial stability and family responsibility. Throughout, Gonzalez reflects on the ways everyday experience can be transformed into contemporary painting without losing sight of the community from which it emerges.
Transcribe →305 Sterling Wells on Plein Air Watercolor, Contemporary Painting, Water Systems & the Art Market
2w ago00:57:16Tap to summarizeSterling Wells is a Los Angeles–based painter represented by Night Gallery whose practice combines plein air watercolor with ideas drawn from conceptual art, environmental systems, and site-specific observation. In this conversation, Wells reflects on growing up in St. Petersburg, Florida, studying painting and sculpture, living in New York after the 2008 financial crisis, and developing an interdisciplinary approach through graduate study at ArtCenter College of Design. The discussion examines the role of water as both material and metaphor, the relationship between documentation and painting, and the evolution of Wells' practice from sculptural installations to large-scale outdoor watercolor works. Wells also speaks candidly about gallery representation, artistic community, financial uncertainty, and the practical realities of sustaining a contemporary painting practice while remaining committed to a slow, labor-intensive process.
Transcribe →304 Moon | Chicago, HBCU Education, DMS Atelier, Community Building & Contemporary Art in Los Angeles
3w ago01:13:37Tap to summarizeMoon is a multidisciplinary artist, educator, art handler, and co-founder of DMS Atelier, an artist-run space in Los Angeles dedicated to exhibitions, artist residencies, and community programming. Originally from Chicago and a graduate of Grambling State University, he discusses the experiences that shaped his path from athletics and hip-hop culture to contemporary art and arts education. The conversation explores artistic practice, teaching, community-building, and the development of DMS Atelier's residency program and community feed initiative. Along the way, Moon reflects on regional identity, the cultural differences between Chicago, Louisiana, and California, and the importance of creating spaces that foster sustained artistic practice, accessibility, and meaningful relationships within contemporary art.
Transcribe →303 Azole Njengele | Photography, Architecture & South African Contemporary Art at Otis College of Art and Design
4w ago01:05:38Tap to summarizeIn this episode, Javier Proenza speaks with South African interdisciplinary artist Azole Njengele, an MFA candidate at Otis College of Art and Design, about the relationship between architecture, drawing, and photography in her evolving practice. Reflecting on her education and professional experience in South Africa before relocating to the United States, Azole discusses how architectural training continues to shape her understanding of space, image-making, and artistic process. Their conversation explores contemporary photography, portraiture, consent and ethics, South Africa's art communities, and the differences between artistic life in Cape Town, Johannesburg, and Los Angeles. They also consider the practical realities of sustaining a creative practice, the opportunities afforded by graduate study, and the role of observation, collaboration, and interdisciplinary thinking in contemporary art.
Transcribe →302 Manny Valdez on Participatory Art, MFA Education, Institutional Critique & the Los Angeles Art World
Jun 2301:29:19Tap to summarizeInterdisciplinary artist Manny Valdez joins What's My Thesis? to discuss his participatory practice, recent projects, and experiences as an MFA graduate from Otis College of Art and Design. Drawing on performance, installation, screen printing, and artist participation, Valdez examines how artists construct identity, navigate institutional structures, and create opportunities within the contemporary Los Angeles art world. The conversation explores the realities of art education, grant applications, rejection, networking, retail labor, and teaching, alongside broader questions about artistic ambition, community, and sustaining a practice outside conventional career pathways. Throughout, Valdez reflects on the value of collaboration, resilience, and creating work that invites dialogue rather than certainty.
Transcribe →301 Ioanna Sakellaraki on Photography, Grief, Archives, Greek Ritual, and Contemporary Art Practice
Jun 1601:20:16Tap to summarizeJavier Proenza speaks with Ioanna Sakellaraki, a Greek visual artist, photographer, and Fulbright Scholar currently conducting research with the Smithsonian, about the development of her interdisciplinary practice across photography, collage, embroidery, and archival work. The conversation examines Sakellaraki’s transition from a career in communications strategy with EU institutions into contemporary art, the influence of personal grief and the discovery of her late father’s archive on her work, and her engagement with Greek mourning traditions, Orthodox ritual, memory, and the unstable boundary between documentary and conceptual image-making.
Transcribe →300 Art World Gatekeeping, Internet Culture, and Creative Survival - Dakota Noot & Christopher Anthony Velasco
Jun 901:35:19Tap to summarizeFor the 300th episode of What’s My Thesis?, Javier Proenza is joined by Los Angeles-based artists and cultural workers Dakota Noot and Christopher Anthony Velasco for an informal conversation shaped by friendship, shared history, and long experience in contemporary art communities. The discussion reflects on public visibility, social media hostility, reputation, and the shifting dynamics of creative life in increasingly online cultural spaces. The episode also examines practical questions of artistic survival, including teaching, freelance writing, collaborative creative work, and the limitations of traditional institutional pathways. Moving between humor and critical reflection, the conversation offers a grounded portrait of how artists build careers, relationships, and parallel forms of legitimacy outside conventional gallery structures.
Transcribe →299 Dave Young Kim — Asian Mythology, Immigrant Narratives, and Curating Contemporary Art in Los Angeles
Jun 201:05:41Tap to summarizeIn this episode, Dave Young Kim, a Los Angeles–based muralist and curator, discusses his recent exhibition at the USC Pacific Asia Museum in Pasadena. Developed around the theme of Asian mythical creatures, the project reframes historical material through the structure of the immigrant experience, pairing objects from the museum’s collection with contemporary artworks and newly commissioned pieces. Kim reflects on the research process behind the exhibition, including the cultural specificity of pan-Asian mythologies and their evolution across regions. The conversation also addresses Korean American identity, family migration histories, and the challenges of curating within institutional frameworks, alongside the practical considerations of maintaining a sustainable art practice beyond traditional gallery systems.
Transcribe →298 Snezana Petrovic — Yugoslav War, Migration, Identity & Ecological Art Practice
May 1901:20:39Tap to summarizeSnezana Petrovic, a Yugoslav-born painter, installation artist, and former production designer, joins What’s My Thesis? to discuss her early career across film and theater in Yugoslavia and her forced migration to California during the country’s collapse in the early 1990s. She reflects on the loss of a national identity, the experience of displacement, and the complexities of being categorized within new cultural and political frameworks in the United States. The conversation traces the evolution of her artistic practice from painting and production design to concept-driven installation work shaped by ecological concerns, environmental damage, and global interdependence. Petrovic also discusses the influence of performance art, her time in India and engagement with spiritual frameworks, and how these experiences informed her shift toward art as a space for awareness, reflection, and dialogue around shared human conditions.
Transcribe →297 Joe Galarza: Punk, Indigenous Anarchism, and Art as Resistance in Los Angeles
May 1201:34:27Tap to summarizeJoe Galarza is a Los Angeles-based muralist, musician, and community educator whose practice engages Indigenous identity, political resistance, and the social role of art. Introduced through the East L.A. punk scene, Galarza traces his early influences from heavy metal illustration to anarchist thought, and later to Indigenous-led movements shaped by land struggles, NAFTA-era organizing, and Zapatista philosophy. The conversation examines art as a tool for education and collective questioning, with Galarza reflecting on his work with incarcerated youth, mural practices that preserve oral histories, and the persistence of colonial structures in contemporary life. Throughout, he situates his work within a broader commitment to community, emphasizing the responsibility of artists to engage with systemic injustice while remaining accountable to the histories and territories they inhabit.
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