Art From the Heart
About the Artists
Discover and Buy Original Artwork
Each year, NCFH commissions an artist to create an original image for its commemorative artwork series. Talented, established artists from around the country have created vibrant oils to gentle watercolors, from exciting acrylics to soothing pastels. Sales of commemorative artwork fine art prints, posters, and notecards support the NCFH Scholarship program. Since 1984, the Program has awarded more than $220,000 to Community and Migrant Health Center staff and Board members to assist them in achieving their educational goals.
Read about the inspiration of each artist and discover your treasure at Art From the Heart.
About the Artists
Discover and Buy Original Artwork
Each year, NCFH commissions an artist to create an original image for its commemorative artwork series. Talented, established artists from around the country have created vibrant oils to gentle watercolors, from exciting acrylics to soothing pastels. Sales of commemorative artwork fine art prints, posters, and notecards support the NCFH Scholarship program. Since 1984, the Program has awarded more than $220,000 to Community and Migrant Health Center staff and Board members to assist them in achieving their educational goals.
Read about the inspiration of each artist and discover your treasure at Art From the Heart.
Raymundo Lopez
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El Ritual De La Milpa
2024 Raymundo Lopez (Ray Lopez) is a young visual artist and seasonal agricultural worker in Florida. He studied visual arts at the University of Sciences and Arts of Chiapas (UNICACH), where he graduated in 2017. Both he and his family have actively contributed to the social transformation of Indigenous communities. In his artistic work, elements referring to his own personal life and the life of his community are mixed with new intercultural interpretations that speak of a Mayan post-modernity. With his works, Ray gives testimony of a young idealistic creator who includes in his practice a record of the most important events of his town from Mexico and even the world. His previous works include “Los Juegos de la Vida” (The Games of Life), exhibition “Destino y Suerte” (Destiny and Luck) (2017). Raymundo is excited to share his most recent work, "El Ritual de la Milpa" (The Ritual of the Field) where the woman is presented as an authority figure at home, while the man of the household is away working abroad; in this case, migrating to another country for a better life and economic sustainability. |
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Virgen Campesina
2023 I am pleased to present an art piece that honors the farmworker women,” La Virgen Campesina”, or Farmworker Woman. She is experiencing difficult times as a farmworker, working hard all day, worrying about her children - if they make it safe to and from school. Being the principal family nurturer and spiritual guardian, her days don’t end at punching a timecard at work, but continue, day in and day out, often to the late hours of the night. She is the last one to go to bed and is the first to get up, to pack a lunch, prepare and take the children to school. I wanted to present an allegorical representation of the Farmworker woman, that beyond all her suffering, there is a mystical air about her, she appears graceful, positive, jubilant, happy, thankful, with a true sense of gratitude. Although giving us so much personal sacrifice, and hard work, now she is offering the fruits of her labor, splendidly, so we can enjoy our own life. |
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Lifelines: Sustento de Vida
2022 I first heard about NCFH when I was in the field of public health, working with teenagers using theater as a means of discussing health issues. One of my favorite projects at that time was with a local farm worker community. I then earned my teaching certificate and taught art and ELL at the high school level. Next, I shifted to my favorite project of all: raising my twin sons. All through my life, I've loved to paint. I've continued to find ways to indulge this passion - whether it be a quick study from life or a larger mural project. Now that my sons are in college, for the first time in my life, I am able to paint full time. I've had the fortune of being able to study with masters such as Susan Lyon and Michelle Dunaway. I am particularly interested in artwork that addresses social issues, and I'm thrilled to be able to support the wonderful work that NCFH does. Elizabeth Phelps’ artwork can be viewed on Instagram @lizphelpsart, and she can be contacted at [email protected]. INTERVIEW WITH ARTIST, ELIZABETH PHELPS
Read about Elizabeth’s experience as our 2022 Commemorative Artist. 1. What inspired you to respond to the NCFH Call for Artist announcement, would you be interested again? Creating artwork for NCFH's scholarships is a win-win situation for me - I get to do what I love and, at the same time, support an organization that does fabulous work. It was delightful to be back as the commemorative artist after 22 years. The idea for this diptych came to me early in the pandemic, when I noticed that farm workers were often left off lists of essential workers that were being honored publicly. I wanted to create this diptych to honor, equally, two groups of people that have been lifelines throughout this pandemic. 2. Did you learn anything new about the agricultural worker population through this experience? Meeting people at this conference warmed my soul. It was wonderful to surrounded by so many people who are working so hard to improve other people's lives. 3. What was your “take home” (i.e., favorite, or most memorable part) of this experience? I was touched that so many people responded to my paintings by sharing stories about their childhoods, their families, or their experiences during the pandemic. I was very much inspired by people's resiliency, determination, and hope. 4. Will this experience influence your future artwork? If so, how? I would love to find other opportunities to create artwork that benefits organizations that I support. I think NCFH's commemorative artwork project serves as a wonderful model. I certainly enjoyed this project. Best to you, Liz |
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Hands of Hope
2021 Mauricio Garay’s interest in art began at an early age, with some artistic guidance from his uncle. Mauricio has built on his family’s artistic tradition and is now an award-winning artist, with a focus on figurative and impressionist works. Mauricio’s one true passion is the realization of his art. His impressionist work can be found highlighting alleys, marketplaces, landscapes, cubist sceneries, seascapes and figures with his vast color palette in a wide range of color schemes. His use of rich and vibrant colors is fluent in his brushstrokes and characterized by his unique mastery and use of spatula knives to create his personal signature in all of his paintings. Mauricio is well known for his art nationally and abroad. He has had the opportunity to receive numerous awards, prizes, and recognition, among these the Prize Award of The XXV Painting Biennial of Central America and the Caribbean hosted by the Instituto Hondureño of Cultura Interamericana (IHCI). The Prize Award awarded to Mauricio's work "Rio de Sangre." His paintings are part of private and public collections in the USA, Europe, South America, and Latin America. Mauricio’s artwork can be viewed online at mauriciogaray.jimdo.com INTERVIEW WITH ARTIST, MAURICIO GARAY
Read about Mauricio's experience as our 2021 Commemorative Artist. What inspired you to respond to the NCFH Call for Artist announcement, would you be interested again? I was inspired by the opportunity to take part of an event where I see my artistic work identified, and my knowledge about the field, the landscape, and the workers. Yes, I would love to have the opportunity to participate again. Did you learn anything new about the agricultural worker population through this experience? Because I’ve been through the experience, I’ve noticed that there are institutions that provide support to the agricultural workers, offering better working and living conditions. What was your “take home” (i.e., favorite, or most memorable part) of this experience? My favorite part is the human side of the job; the hard work of the workers and their sacrifice is valued. Will this experience influence your future artwork? If so, how? In my future projects, it will influence in how to focus and show the effort and dedication of the agricultural workers. 
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Chile Harvest
2019 My painting seeks to capture this harvest time and honor those who work to bring food to our tables. interview with artist, Jeri Desrocher
Read about Jeri's experience as our 2019 Commemorative Artist. What inspired you to respond to the NCFH Call for Artist announcement, would you be interested again? As I learned about what NCFH and its members do I realized how critical these functions are to helping the people who are so often overlooked. I did not know before being contacted that there was an association for people doing this work. Through my art I hope to raise awareness of farmworkers and their critical role in feeding America, and this organization is certainly doing that. I would be interested in participating again. Did you learn anything new about the ag worker population through this experience? I learned some things about the historical struggle for farmworker rights that I did not know before. It was very interesting and inspiring to hear Dolores Huerta speak and to understand more about what she had to go through and what she accomplished. The interchange between her and Ms. Kennedy Townsend was fascinating. What was your “take home” (i.e. favorite, or most memorable part) of this experience? The best part of the conference was meeting people who are doing such important and generous work. I know that they could be making more money in other positions but I really felt their sincere desire to make life better for others. Will this experience influence your future artwork? If so, how? I would like to try to find more women ag workers to portray. They have been in the minority of workers I have seen in my area, but play such a critical role. 
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Tierra Bendecida
2018 I express my homage to farmers, agricultural workers, and the community that embrace our land's importance and work together while embracing traditions, beliefs, and self-identity. Adorable Monique Interview
1. What inspired you to respond to the NCFH Call for Artist announcement? I believe that the vision and mission of NCFH is a worthy cause. Being considered allowed to share my vision, to showcase the importance of culture, diversity, beauty, dreams and traditions through art. 2. Did you learn anything new about the agricultural worker population through this experience? Yes, I learned about the many situations and sacrifices that many agricultural workers face during labor, and the importance of being granted with an aide to improve their health among the opportunities to grow through education. 3. What was your “take home” (i.e. favorite, or most memorable part) of this experience? To learn about the enrichment and improvement of the agricultural workers was important. The rewarding experience is that through the created artwork may be of inspiration and generate funds to grant with scholarships to many. 
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Dignified Work
2017 Mother Teresa said that one first had to hurt to then feel true mercy for another. To be sick without health insurance, to lose work and struggle to feed children and keep a home, to be rejected, to feel invisible, to be lonely. It was God’s grace in my life to spend time in each of these circumstances so that now when I see another’s struggle, their hopelessness, their need to not be alone, I’m moved with pain, to pray, to give and to encourage. It was a natural path for me to want to join in the effort to make scholarships available to the migrant worker. As I researched for the painting, compassion grew for these people that toil so hard just to live and it’s my hope that this heart is reflected in the finished work. 
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Field of Blue
2016 I have an interest in uplifting the lives of migrant Farmworkers; I have been active in advocating and assisting outreach programs as well as efforts to resolve health disparities. 
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Tender Strength
2015 God has given us beautiful forms in nature. I give homage to the perfection of His Design in my stylization of the different elements of the strawberry plant. In the end, the overall effect of this stylization and the pure, vibrant colors used is reminiscent of a stained glass window. I hope people will enjoy viewing “Tender Strength” and that it will inspire them to… Come into the field with the harvesters! 
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Farmworker Celebration
2014 I was inspired by the farmworkers and their harvest. The painting depicts the celebration of their harvest, containing the produce and the livestock which are proudly displayed, representing the work they do. 
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Abrazo de Vida
2013 A painting of hope and a vision of a young farmworker embracing life as life embraces her. 
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Nature’s Tapestry
2011 Inspired by the rich colors of the various vegetation. The vibrant reds of the tomatoes and the lush greens of the foliage provided a perfect palette for creating this piece in which I pay homage to the migrant workers that bring nutritious food to our tables. The family depicted looks out into the fields as they contemplate the beauty of "nature's tapestry" and the hard work of fellow migrant workers, and relish in knowing their hands grow the fresh food that feeds the many households of our country. 
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Gracias a Su Trabajo/ Our Abundance: Thanks to Their Labor
2010 The general painting is to honor and thank the farmworkers for the abundance of food in America that is based on their hard work. In describing his artwork and the meaning behind the images on the canvas, Mr. Clark provides the following points to help his audience understand and appreciate the symbolism that inspired him:
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Trabajo y Tarea
2009 This image of a father and son in a field is an homage to my loving parents' wish. The tired father, who has been working all day in the field, has been met by his young son, freshly off the school bus. I imagine the words the boy conveys about what he has learned in school that day as his father carries him on his shoulders high above the green fields in which he toils day after day. 
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Through the Eyes of a Farmworker
2008 I was inspired by the time that I spent as a farmworker. The basic premise for the painting is to express the similarity between the agricultural and plantation histories of Hawaii and Puerto Rico. The major crops in both countries were sugar, pineapple and coffee in the 19th and 20th centuries. The painting exemplifies these three major crops. The male figures have hats to conceal their identities because of how issues of illegal immigration shroud the images of the workers. The woman is clearly seen in full profile because the woman is often the recognized center of the farmworker family and provides the family learning experiences in culture, values and nurturing. The workers are depicted with bent postures exemplifying the effect of the back breaking work they perform. The hands of the farmworkers are emphasized and stiff from constant use. 
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Alma y Corazón
2007 I create because it is an essential part of me-my form of communication. I believe I help others see the world a little differently through my painted visions. 
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In Honor of My Family
2006 The love and dedication to children and commitment to their better future through education and health, inspired the image, "In Honor of My Family". 
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Recompensa al Final de la Jornada
2005 It is not only the bounty of the fruit, but the joy of reuniting with family that is the reward after a long day of work. 
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Gracias a Dios
2004 This painting is my imaginative scenario of El Paso's first Thanksgiving. I tried to convey the celebration of life that makes this theme the cultural banquet that it is. It is a poetic vision. In 1598, nearly 23 years before the Pilgrims landed at Plymouth Rock, a large group of Spanish colonists rested from their hard march northward and gave thanks along the banks of the Rio Grande long before there were borders. They feasted with the Manso Indians who greeted them. This scenario is my dream with all the spirits, archetypes and imagery of Mexicos' past, present and future in El Paso. El Sol is the gloriously golden Sun Carnival Host gazing at us with the eyes of perception and ageless beauty. 
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Vigiliando el Futuro
2003 My desire is to raise awareness with my art. There are so many risks involved with agriculture, and they can have devastating consequences. Being aware of these issues is the only way we can protect the future for ourselves and our children. 
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De La Tierra
2002 Light and mood captivate and move the viewer into an alluring world where realism and fantasy merge. The farmworkers become part of the land and one cannot see where the land ends and they begin. And as it is true in life, there faces are obscured to the world. 
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Seeking Justice, Equality/Buscando la Justicia Igualdad
2001 We all seek justice and equability, regardless of our race or ethnicity. This painting reflects the myriad of faces of farmworkers, all seeking the same thing, dignity and respect. 
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Picking Fruit, Escogiendo Nuestra Fruta
2000 I'm illustrating a consumer purchasing produce in a grocery store blended with a scenic background of fields and working migrant farmworkers. The artwork is a bold reminder of where our food comes from. 
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Tending Crops, Healing Spirits
1999 This concept incorporates close-up views of the migrants' hands at work. Placed on top of each hand is a hand Milagro. Milagros are small metal char-like fragments of the human body. These Milagros are believed to heal a particular body part. 
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Harvest of Hope
1998 My goal in painting is to telegraph an impression of how I feel about what I see...I don’t always understand the process, but I try to put this impression down in a way that will preserve the freshness of the first moments of the visual experience. I don’t pay attention to trends and try to vary my approach to fit the character and mood of everything painting. I begin with neutral oil washes directly on the canvas to work out the forms, values and the distribution of light. With the composition set, I concentrate on color patterns selecting, rejecting and modifying the color as I build up the painting. As the painting begins to live and breathe, I focus on edges and surface quality and strive to retain a feeling of spontaneity through rapid, but well thought out brush strokes. 
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Harvest
1997 To me, the workers' actions are a dance of labor, with the workers moving, stooping, gathering and then hurrying with each filled container to have it weighed and then quickly returning to fill the next basket. The repeated cycle of movement and gathering continues on from season to season. 
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Sunset Harvest
1996 According to writer Anne Keith Collins, "Whether evoking a mood of quiet tranquility in some of his paintings, or radiating an engaging joie de vivre in others, dark values contrast with pale ones in melodious rhythm in this artist's work. His subtle palette plays harmonious warm browns, ochres, and siennas against cool blues and patches of subtle cool hues. Perhaps, however, it is his well-honed sense of composition that constitutes a more important aspect of his work." 
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Seguimos Adelante 1995 Rather than introducing elements to a composition, I try to define and express the significance of what is there in such a way as to allow the viewer to bring to it their own notions, intelligence, or spiritual experiences which will complete the expression, and give it relevance beyond pure aesthetics. For me to paint otherwise is to somehow insult the integrity of the subject itself or deny my relationship with the land. 
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Justice for All
1994 In recognition of the first anniversary of the death of Cesar Chavez, the artwork depicts a group of farmworkers picking grapes and packing them into union crates in an early morning vineyard setting. The message encompasses the Movement's struggle to bring national attention to the issues surrounding farm labor. The presence of the United Farm Workers of America logo on the crates symbolizes Chavez' successful negotiation of farm labor contracts. 
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La Reunión
1993 My goal as an artist is to create personal artwork and express a sense of social responsibility. 
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Time Honored Work
1992 It is not a particular landscape or still life I wish to convey, but the essence of the emotional response I feel at the moment of creation. My spirit is fed at that moment, and it is my spirit that creates. My physical being is merely an instrument. 
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First Day at School
1988 Tom McKinney blends his vision of individuals with his technique of portrait expression to produce images which reveal the spirit and dignity of life. His tempura gouache painting, First Day at School, joins his “gallery of portraits” in its interpretation of migrant children's lives. 
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