Salvador Jiménez-Flores
Professor
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Bio
Salvador Jiménez-Flores is an interdisciplinary artist born and raised in Jalisco, México. He explores the politics of identity and the state of double consciousness. Jiménez-Flores addresses issues of colonization, migration, “the other,” and futurism by producing a mixture of socially conscious installation, public, and studio-based art. His work spans from community-based work, drawing, ceramics, prints, and public sculpture.
Jimenez-Flores is a former member of The Color Network, an organization that promotes the advancement of people of color in the ceramic arts and assists artists develop, network, and create dialogue while maintaining a place for a database, resources, and mentorship. He is also a member of the Instituto Gráfico de Chicago, an organization inspired by the socio-political art of Mexico’s Taller de Gráfica Popular (The People’s Print Workshop) and uses art as a platform to inform and generate community discourse about urgent social issues.
Jiménez-Flores has presented his work at the National Museum of Mexican Art, Grand Rapids Art Museum, Urban Institute of Contemporary Art, Bemis Center for Contemporary Arts, Grounds For Sculpture and Museum of Art and Design amongst others. He served as Artist-In-Residence for the city of Boston, Harvard Ceramics Program, Office of the Arts at Harvard University, and Kohler Arts Industry. Jiménez-Flores is a recipient of Joan Mitchell Foundation Painters & Sculptors Grants and he is a 2021 United States Artist Fellow.
Educational Statement
As an educator I believe I have the responsibility to ensure that my students have the skills and the attitude to succeed in the very competitive contemporary art and craft field. I aim to implement as much professional practice within each of my classes so students feel comfortable doing research and crafting a visual and written proposal through their art projects. My experiences as an interdisciplinary artist provide me with the flexibility of working in a wide range of styles and media including drawing, sculpture, public art, video, installation and social practice to name a few. This diverse skill set helps me teach my classes more effectively and encourages interdisciplinarity in the classroom. My intention is to demonstrate the infinite possibilities in art. More importantly, awakening students’ curiosities and conflicts so they can learn how to develop their own content and ideas for their work.
Portfolio
Salvador Jiménez-Flores, La resistencia de los nopales híbridos: El Susurro del Desierto/The Resistance of the Hybrid Cacti: The Desert’s Whisper, 2025, cast bronze, H. 15ft x W. 8ft, Grounds For Sculpture permanent collection, photo: Roshni Khatri,
Salvador Jiménez-Flores, La resistencia de los nopales híbridos: El Susurro del Desierto/The Resistance of the Hybrid Cacti: The Desert’s Whisper, 2025, cast bronze, H. 15ft x W. 8ft, Grounds For Sculpture permanent collection, photo: Roshni Khatri
Salvador Jiménez-Flores, Memoria, Tierra, Trabajo: A Glimpse of the Semiquincentennial, 2025, Clay slip, oxides, H. 15 x W. 89 feet
Salvador Jiménez-Flores, Memoria, Tierra, Trabajo: A Glimpse of the Semiquincentennial, 2025, Clay slip, oxides, H. 15 x W. 89 feet
Salvador Jiménez-Flores, Je’shenda daji ntha da thina / Yo y toda la estructura que me sostiene, 2024, Woven and dyed palm, plastic rope, and thread, 110.2 x 263.7 in
Salvador Jiménez-Flores, Kutha/ Máscara: Rintú: El aire, los espíritus, 2025, Kiln formed glass, stoneware, woven and dyed palm, oxide stain, glaze and white gold luster, 16.9 x 11 x 11.4 in,
Salvador Jiménez-Flores, The Fire Next Time After James Baldwin, 2022, Red and white stoneware, underglazes, glazes, black stain, gold luster, epoxy, wood. 83 in x 20 in x 20 in
Salvador Jiménez-Flores, The Fire Next Time After James Baldwin (Detail), 2022, Red and white stoneware, underglazes, glazes, black stain, gold luster, epoxy, wood. 83 in x 20 in x 20 in