¡VIVA! A Celebration of Latinx Cultures and Traditions

Geny Mejia, photographed by John Agcaoili at Hubble Studio. Tattoo artist, Antonio Mejia.

San Francisco has a rich Latinx heritage that is highlighted in a diverse array of exciting programs for all ages, from Spanish/bilingual storytimes, to author talks, to art and cultural presentations. Come enjoy with us. ¡Bienvenidos! 

¡VIVA! Featured Artists Antonio and Geny Mejia

We are thrilled to showcase the work of Antonio and Geny Mejia for this year's ¡VIVA!: Latinx Heritage campaign. Geny Mejia, featured in the ¡VIVA! art, proudly displays tattoos created by her husband, Antonio. Antonio's work is a part of our exhibition, Living Tattoo Traditions: American Irezumi and Beyond, which celebrates the rich artistry and cultural significance of tattooing through photographs, interviews and original artwork. Check out the Q&A with Antonio and Geny below, where they share the background of their tattooing.

 

Body

Please introduce yourselves.

My name is Geny Mejia. First and foremost, I am a mother, grandmother, wife, and educator. My family is from a small village Espita in Yucatán, México. I was born in Los Angeles, California. I work with inner city students, teaching high school history to 9th–11th grade children. I have been in my profession for 26 years. I am also involved collectively with Danza Azteca and participate in teaching the community our Aztec/Mexica culture. It is important to me to show that we are still here, and our ceremonies, practices, and prayers are stronger than ever. My children and grandchildren have also been involved in our ceremonies.

My name is Antonio Mejia. My people come from the copper canyon in Chihuahua, México, a town called Batopilas at the base of the Copper Canyon. I was born in Lynwood, California and currently reside in Pomona, California. I am a tattooer that has been tattooing since 1991, professionally since 1994. I am a maker of art/ storyteller, est. 1974.

Tell us about your varied art practices.

Antonio: I have been drawing since I can remember —before school age. Currently I tattoo alongside my children as well as paint murals. I also create various types of personal and commissioned artwork using various types of media and disciplines.

How did you start tattooing?

Antonio: I started tattooing the way most of us start tattooing in our neighborhoods. At 15 I came into contact with my first homemade tattoo machine experience through various friends at school.

Tell us about your tattoos.

Geny: Most of my work is Aztec/Mexica and Mayan. It has been paramount in my life to identify key symbols, images that represent my native culture, where my family is from. I also have tattoos that tell a story of my life—being a mother, and now a grandmother, reaching milestones and celebrations of life. I strongly believe that when we pass on to the spirit world our ancestors will recognize those markings and guide us where we need to go. I am reclaiming our indigenous markings with hopes that my ancestors are proud and smiling down on me.

What's your favorite tattoo story?

Geny: My favorite tattoo story is when my family and I traveled to México in our Dodge Grand Caravan. It was a six-week journey, and we were stopping and staying with immediate family and tattoo family. This was around 2007, and we understood the risk of the increased violence of cartels, but we wanted to expose our children to the beauty and rich culture of the motherland. We started in Los Angeles California and ended with my family in San Felipe, Yucatán. Stopping and visiting tattoo families, getting tattoos, and giving tattoos was beautiful for me and my children. My children were living and seeing the closeness of the tattoo community. My husband Antonio has always incorporated the importance of this relationship in the tattoo community, and now my children hold this medicine and share it— Xiucoatl Mejia and Citlamina Mejia. Well, my favorite part of my tattoo story is when we were stopped by these young soldiers on the highway, somewhere in Yucatán—this always made me nervous because things can always go bad. As the young soldier asked questions about our travels, he recognized my arm tattoo bands. He said those were Mayan and I said yes, I told him that I was Mayan and told him where my family was from. He then spoke about his admiration of the tattoo to Antonio (who made the tattoo for me). This relaxed the tense situation, and he allowed us to proceed. That connection and understanding that we came from this land under these ancestors was very powerful to me. We identified with each other because of the tattoo.

How would you describe your artistic style?

Antonio: I like to think I don't have a style, but the fact is, because of the community I grew up in and the demand or need, I should say, for an alternative to what modern tattooing was offering us, I was compelled to create new stories based on ancient seeds.

What kinds of subject matter do you explore in your tattoos?

Antonio: I explore whatever the person sitting with me asks me to explore. Generally, I'm asked for my opinion based on whatever that particular individual is going through. After consuming their story, we then decide placement and size that would be most appropriate for the task at hand. I would say that most of the work I am currently working on has some ties to the people’s indigenous roots and history. However, I am a lover of tattoos and I'm always able and willing to explore most subject matters.

What does the process look like when you work on a tattoo for a customer?

Antonio: Once I have heard the story and the peoples input on what they need we then consider whatever references they have gathered, then choose the area that will be tattooed. After that, I mark all joints and muscles, veins, bones, and elasticity of the area to be tattooed. Once those acknowledgements are made using a red pen, I then look at those markings to try to find the image the person is looking for within those boundaries. I draw 95% of the work I do, directly on the skin. Starting with red ink and working my way through darker pens till I'm confident in the image at hand. The drawing process can take anywhere from 30 minutes to 4 hours, whether it be a hand size tattoo or full body tattoo (knees to shoulder).