Celeste De Luna

My artwork is about my community and environment and strives to provoke thought and conversation about social change. It is a way of thinking, processing, and sharing information.   My work isn't just for the art world but also for my family, community, and people interested in border studies, Xican@ art, feminism, and politics.  

Artist's Statement:

My work is a tool to understand and deconstruct oppressive paradigms in my physical/spiritual/psychic environment. I explore the complexity of relationships of borderland people and landscape.  Common themes in my work include migrant/border experiences of women, children, families, Tejas landscape, the spiritual struggle of conflicting identities, and “survivor’s guilt”. Common iconography frequently features razor wire, fences, bridges, and anchor babies. By mapping geopolitical aspects of my environment, I understand myself better. Post-911 militarization of my homeland and has been the catalyst of “conocimiento” for me, a concept written about by Xicana lesbian thinker Gloria Anzaldua.   Sometimes, I use my imagination to create narratives in which I use my family and myself as characters. In this way, I explore the concept of “You are the other me.”  By imagining myself as the other, my borderland narratives take on a personal and feminist viewpoint that contradicts superficial“border violence” stereotypes. 


Celeste De Luna is a painter/printmaker from the Rio Grande Valley, Texas.  She received her MFA from the University of Texas Pan American in 2008.  She has shown artwork in group exhibitions since 2007 in the various cities in the Rio Grande Valley of Texas, San Antonio, Houston, Austin, San Diego and Chicago.  Additionally, De Luna’s work has been part of nationally and internationally exhibited printmaking portfolio projects.  In 2013, her one person show “Nepantla: Art from the Four Corners of the Valley” at South Texas College in McAllen, Texas was part of the 2013 Texas Biennial.

“A true daughter of the borderlands, her art celebrates the quotidian and the exceptional on the border,” writes Ines Hernandez-Avila. De Luna continues to explore the geo-political aspects of post-911 militarization of her environment such as border walls, drones, checkpoints, and bridges.  Other influences on De Luna’s work are the writing and art of Gloria Anzaldua, political graphic art, and the nature of evil.