Meet Jorge Garcia: The Lawyer Who Finds Freedom in Art

ever wondered where our iconic totem came from?

This week in our Meet the Artist series, we’re chatting with Jorge Garcia, a full-time lawyer and artist who creates purely for pleasure. He’s the one behind the iconic totem pole in our storefront. Jorge was born and raised in Puerto Rico but has spent much of his life living away from the island, pursuing both law and art in cities like Washington, D.C. and New York. In this interview, we dive into his unique journey from early interests in architecture and plastic surgery to becoming an attorney focused on international commercial arbitration. Jorge also shares how art has been a constant presence in his life, offering an escape from his legal career, and how he balances these two seemingly different passions. We explore his path as a collector, his creative process, and what draws him to particular pieces of art.

1. Can you share a bit about your background—where you’re from, your journey so far, and how you came to pursue both law and art?

I was born and raised in Puerto Rico, though I now realize that I have lived almost half of my life away from the Island. I first moved to Washington, D.C. for college, and then New York City for law school and my current job.

Growing up, I was interested in pursuing aesthetically-driven careers — architecture first, then plastic surgery. But my uncle, who is an architect, told me at a young age that it was a thankless job, which shattered me despite my strong disagreement; and I eventually learned there are many steps to one becoming a plastic surgeon, none of which I was interested in.

I was left with a fascination for history, writing, and problem-solving in a business context so, many years later, I decided to pursue these by becoming an attorney. The question then became: Which kind of attorney? I chose to focus on international commercial arbitration, as it allowed me to work on cross-border disputes relating to a varied mix of topics, from consumer luxury goods to a bi-national mining project to video games.

Art, on the other hand, has been a constant in my life, and one of the few things I am very patient about. I have always doodled, relished museum visits, and been surrounded by individuals with artistic inclinations (or artists themselves). Art also allows me to appreciate aesthetics freely and without tying it to career aspirations.  I compartmentalize my work as an attorney from my interest in art. This is because art is very much a source of joy and escape for me — both to witness it or, at times, to create it.

2. How did you start collecting? What draws you to a piece of art when collecting?

I moved back to Puerto Rico briefly in 2018 to clerk for a federal judge. At this time, the art scene was resurging as galleries like Embajada opened shop in the Island, MECA was brought to Old San Juan a year later, and my friends started having opportunities to show their work. I had also re-joined the workforce after having been in law school for three years. The logical step for me was to begin collecting the art I was seeing.     

The pieces I like to acquire must be honest, beautiful, technically proficient, dark, and cheeky. Which is a long-winded way of saying that I collect artworks so as to be able to see them every day. And whether I feel this way about a piece or not happens right when I see it. It is always a very visceral experience. As a result, my decision to acquire a piece tends to be immediate and impulsive (though I will often call my sister, Anna Sofía, to get her trusted opinion). I should say that, of course, the artist’s background, thesis, and source(s) of inspiration are important factors I consider as well. But those elements only add to my excitement for acquiring the artwork (not create the excitement), as the artwork should always speak for itself.

3. Do you have a favorite piece in your collection?

This is an unfair question. To be clear, I deeply cherish each and every piece in my collection, though there are a few that stand-out (in no particular order).

First, Jonathan Torres’ Sube y Baja (2020), a master-class in grungy texture. The work depicts the Castillo San Felipe del Morro and María Magdalena de Pazzis Cemetery in Old San Juan, which is one of the last places I visited with my father before moving back to New York City in 2020. It also has a burning cruise ship in the foreground. People always think it is a political commentary on the tourism industry in Puerto Rico but, as Jonathan explained to me a few years after I acquired it, the ship is there because, to Jonathan, beauty begets some sort of darkness.

Second, Lulu Varona’s Ir y Venir (2021), which was showcased at the Whitney’s No Existe Mundo Post-Huracán. I find Lulu’s textile work generally, and particularly in this piece, to be remarkable for the way in which she handles difficult subjects with overwhelming tenderness. As the title suggests, this piece speaks to Puerto Ricans’ experience coming from and going to Puerto Rico. You can always count on us to miss home.

Third, Sebastián Gutierrez’ Revelado de un Caballo Sediento (2024). Sebastián creates uniquely surreal scenes that are as mesmerizing as they are grotesque. This particular piece is tiny, which amuses me as I wonder how Sebastián fit an idea from his brilliant mind into a 3”x4” painting.

And finally, Jean Pierre Villafañe’s The Midnight Special (2020). It is a maquette of a theater, which is in turn a nod to JP’s background as an architect and fascination with life after the sun sets. To experience the work, you have to look inside the maquette through a round peephole, making the piece as cheeky and impish as JP himself.     

4. How do you balance being a lawyer with your artistic pursuits?

I should say that being an attorney is my main focus and pursuing art in a formal sense is not my goal. In fact, I am not sure I am in pursuit of anything specific when it comes to making an object either. I do not even consider these objects to be art.  Rather, an idea pops into my head and I create it because it is something I like and want to see in real life for my own amusement and joy. Of course, it is difficult to find the time to do this consistently, especially with a busy and often hectic work schedule. But I have gotten comfortable with the idea of creating little by little.  There is always time, it all depends on what you prioritize and when.  

5. How do you relate to the word "creative"?

With the literal act of creation. Something that did not exist before, or that only inhabits your mind, and now lives outside of it. Certainly, there has to be an element of uniqueness to the act. But I am somewhat apprehensive of placing too much weight on the creation being entirely one-of-a-kind or extraordinary in order to be creative. I think the 3% rule is bullshit. I also think all work is derivative to some degree.  

6. What was the inspiration behind the totem you made for the shop?

I had made a first totem for myself, which Mónica complimented during a dinner at my apartment. At the time, Mónica was remodeling her store, and I needed an outlet for a busy work period but did not have space to put another totem in my home. So, I offered to build Mónica a totem for her store inspired by Santos’ graphic design and bold red colors. It was quite fun to make the Santos totem too, as it forced me out of my comfort zone. You see, I prefer moody art, and my original totem had followed suit (it is taller and in hues of grey).

7. What role does art play in your daily life?

The artworks in my apartment are one of the first things I lay my eyes on every morning, so you could say that art jump-starts my day. Creating it is also a source of joyful escape for me. I type and stare at a screen to create digital work-product with far-removed implications, and art counter-balances this by allowing me to build something with my hands that I can mold and touch. Art is also a source of education and uncomfortable-but-welcome experiences for personal growth — just go to a Young Boys Dance Club performance. Art can be friendship-making and match-making too.

8. Do you have any rituals or routines when creating art?

I first need to have clarity on exactly what I plan on creating. From there, I try to sketch out the piece, with annotations on the materials I will use, the colors, and the general dimensions — in short, the form. Or, if I am feeling impatient, I will just visualize what the piece will look like in broad terms and finalize the details as I work on it. These processes happen relatively quickly, and I will begin building out the piece right after the idea is clear in my head. I avoid iterations and prefer to adjust course as I am creating something. Beyond this, I have no idea what I am doing and that is exciting. But, once the piece is finished, I try not to look at it again (as I do not think it is every truly done) and prefer to disassociate myself from the work.

9. How do you decide which pieces to keep for yourself and which to share?

I have only made one piece for myself, the first totem. The rest — such as the Santos totem, a trio of farm animals called Magimales and inspired by hand-carved wooden saints from Puerto Rico, and a maquette of Noguchi’s Slide Mantra in Miami — were all specifically made for and gifted to someone else, so I had no place in keeping them. It also feels somewhat silly and uncomfortable to keep for myself the pieces I make. Each time these works were completed, I felt a strong urgency to remove them from my apartment.

10. What’s a piece of advice you’d give to someone balancing multiple passions?

Lean into your multitudes — the fact that you have a career does not mean that you cannot continue exploring your other passions. Be honest with yourself about the roles these different passions will play in your life, pursue them accordingly, and be open to these roles changing at some point. Lastly, be kind to yourself. I used to beat myself up if, say, a few weeks went by without me visiting a gallery show or not making something. As long as you make sure you focus on your passions when you do have the time, you will always be nurturing them. If you have continuity and consistency, you do not need to be that strict about frequency.

11. Where do you see your art evolving in the future?

I just want to keep having fun with it; there is no end-goal for now, really. That said, I want to try working on more figurative pieces as a next step. The other area I have been focusing on is scale. Look, I prefer making large-scale works like Monica’s totem, for example. I would have preferred it if the Magimales were 7 feet tall too.  But works like this take up a lot of space I do not have right now, meaning I can only make them upon request (i.e., someone else needs to take them). This has motivated me to work in smaller scales, which allows me to create more works that I can eventually make in larger formats down the line.