In the heart of Charlotte, North Carolina, the Mint Museum recently closed its doors on one of its most vibrant and transformative exhibitions to date, Collidoscope: de la Torre Brothers Retro-Perspective a dazzling showcase of the de la Torre Brothers’ work that left an unforgettable mark not only on visitors but on the museum’s own staff, from curators to security guards. The exhibition was more than a display of art – it was a cultural event, a communal experience, and a celebration of identity, hybridity, and visual storytelling.

Born in Guadalajara, Mexico, and raised in Southern California, Einar and Jamex De La Torre have long lived between worlds – geographically, culturally, and artistically. Their work reflects this duality, embracing contradiction and complexity with exuberance. Their journey from Catholic schoolboys to beach-town creatives shaped a unique aesthetic that defies categorization. It’s maximalist, unapologetically layered, and deeply rooted in both Mexican and American cultural traditions.

The brothers’ practice spans blown glass, mixed media, lenticular prints, and large-scale installations. Their studio straddles the border of Ensenada, Mexico, and San Diego, California, mirroring the bicultural tension that fuels their creativity. They cross the border on multiple occasions, a rhythm that informs their perspective and their art. This constant movement between spaces is not just logistical, it’s philosophical. It’s about navigating identities, histories, and economies.

Their work is a riot of materials and meanings. Glass, resin, dollar-store trinkets, Catholic iconography, ancient artifacts, and pop culture artifacts collide in pieces that are both humorous and haunting. They transform outlandish into commentary, challenging viewers to reconsider notions of beauty, value, and authenticity. In one piece, a lenticular print flips between a Mexican icon and a European monarch, forcing the viewer to confront colonial legacies and cultural appropriation. In another, a human heart morphs into a prickly pear cactus, symbolizing resilience and hybridity.

The Collidoscope exhibition has traveled extensively – Texas, Oklahoma, California, and even Europe. Each iteration adapts to its environment, often incorporating new works created on-site. In Denmark, the brothers tackled the theme of sloth, turning a plaster ‘Sleeping Mexican’ into a roaming Roomba installation that bumped into guests, including the Mexican ambassador. In France, they recreated a banquet table of opulence and excess, echoing Marie Antoinette’s disconnect from reality. In Poland, they responded to local contexts with new pieces that blended Mexican folklore with European sensibilities.

Their installations are immersive and theatrical. At the McNay Museum in San Antonio, they transformed a vast gallery into a multi-room experience, complete with taxidermy, chandeliers made of wine bottles and money bags, and wallpaper designed by the artists themselves. One room featured a monster movie showdown – nature versus technology, projected onto floating posters, with the true villain revealed to be humanity itself.

Public art is another frontier for the De La Torre Brothers. Their lenticular murals and sculptural installations grace hospitals, transit stations, and airports. In Downey, California, a two-story lenticular piece in a spinal trauma hospital evokes regeneration and healing. In Seattle’s international airport, their work even adorns bathroom walls, proving that art can and should exist in unexpected places.

Despite the scale and complexity of their work, the brothers maintain a small, agile team. They collaborate with glass studios around the world, adapting to different materials, techniques, and cultures. Their process is deeply collaborative, not just between themselves but with the communities and institutions they engage. They describe their artistic partnership as a dance – fluid, intuitive, and built on trust.

Interpretation of their work is not limited to the artists’ perspective. It invites interpretation, encourages dialogue, and embraces ambiguity. They believe that art should be experienced before it is explained, allowing viewers to bring their own stories and perspectives to the pieces. This openness is part of their teaching philosophy as well. They often conduct workshops and residencies, using their own practice as a model for creative exploration.

The De La Torre Brothers’ art is a kaleidoscope, constantly shifting, refracting, and revealing new patterns. It’s rooted in tradition but fiercely contemporary. It’s playful yet profound. And above all, it’s a celebration of the messy, beautiful complexity of being human.