What makes plants capable of belonging to multiple regions while humans cannot? This thought-provoking question forms the basis for a large-scale exhibition by Raul De Lara. In his surreal sculptures, he ingeniously merges elements of nature with domestic furnishings.
HOST, currently displayed at The Contemporary Austin, features a stunning collection of artworks that challenge concepts of identity and belonging, while simultaneously questioning the permanence of state boundaries. Utilizing local wood from Texas and Mexico, De Lara crafts striking pieces including potted monsteras entwined with chains, a school desk adorned with long spines, and a cactus cleverly shaped like a child’s rocking horse.
The works transform everyday objects—a shovel, for instance, or a voluminous bouquet of daisies—into the bizarre and unsettling. Several sculptures are rendered unusable; for example, a fearsome spiked ladder that would deter even the most daring individual from attempting to climb it.
Originally hailing from Austin, and now residing in Ridgewood, Queens, De Lara was raised in the heart of a family of Mexican immigrants. His initiation into woodworking took place in the family workshop, where he reflects on a space where “each tool possesses its own language, every slab of wood reflects the passage of time, and communication is achieved through one’s hands.” A profound belief in animism, luck, and the paranormal enriched this foundational environment, leading the emerging artist to realize that he could channel the essence of materials to craft exquisite objects.
For De Lara, woodworking transcends mere craftsmanship and becomes a narrative medium, rich with magical realism. “I embrace the notion that artworks may carry a spark of life, reaching out to us,” De Lara articulates, adding:
“When I create my works, I recall memories from childhood when I witnessed local artisans transforming branches into sacred figures. I always pondered at what point during the carving does the spirit infuse itself into the wood. I aspire to make art that encourages a kind of trust and acceptance from the viewer, allowing them a glimpse beyond our reality.”
In an age where global issues surrounding immigration and human rights are at the forefront, the relevance of De Lara’s art is undeniable. Holding DACA status himself, he is acutely aware of the volatility and rapid changes that accompany shifts in political landscapes.
His sculptures exude a sense of whimsy and playfulness, juxtaposed against the stark realities of the world. Yet for De Lara, woodworking and traditional craftsmanship serve as a superpower. “This skill cannot be stripped away; it is not tethered to geography, politics, or legislation. It’s a gift that can be practiced anywhere, with anyone, often bridging divides among us,” he asserts.
Visit HOST until January 11, 2026, and follow De Lara’s artistic journey on Instagram.
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