Las Calaveras de la Calle 5

Temporary Art Installation | November–December

Location: Republic Square, 422 Guadalupe St, Austin, TX 78701

Calaveras de la Calle 5 is a large-scale art installation honoring the 5th Street Mexican American Cultural District in downtown Austin. The project features six monumental skull sculptures installed at Republic Square, each designed to celebrate the rich cultural influences that have shaped Austin’s identity.

Created by Colectivo Última Hora, a Mexico City-based artist collective recognized internationally for their iconic Día de los Muertos installations and parade props, this project blends traditional craftsmanship with contemporary cultural storytelling. For this installation, Mexic-Arte Museum collaborated with Austin-based artists Luis Abreux, Luis Angulo (ULOANG), Valerie Chaussonnet, Amado Castillo III, Cindy and Ernesto Hernandez, and Candy Yu Yen Kuo to create a vivid, community-rooted artistic experience.

Each skull is dedicated to honoring the contributions of a distinct cultural group—Indigenous, Latine/x, Black, French, Asian, and Chicano—inviting the public to engage with the histories, stories, and identities that continue to shape the city. This interactive installation encourages both celebration and reflection, fostering dialogue around cultural memory, diversity, and the evolving character of Austin.

Embedded QR codes at the base of each sculpture connect visitors to digital content, providing further context about the artwork and the cultural significance behind each design. These links direct users to the 5th Street Mexican American Cultural District page, co-hosted by the Downtown Austin Alliance and Mexic-Arte Museum.

Digital Pages:

Credits:

itZel Carrizales-Aguilar Curatorial Intern – Illustrations and Text
Demian Chavez Galvan Education Intern – Design and Text
Luisa Fernanda Perez Curator of Exhibitions and Director of Programs
Richard Alexander Greene Education Associate
Jasmine Chock Education Associate

Valerie Chaussonnet – Bonjour, Bonne Nuit, Bon Appétit, 2025

Calavera Description:

The artist approaches this Calavera as a richly symbolic narrative of cultural memory, migration, and renewal. Through a carefully considered progression from black to blue and back again, the piece evokes the cyclical nature of life and death, night and day, and the ever-turning wheel of history. The imagery—ranging from the ghostly silhouette of La Belle to the white façade of the French Legation, and pétanque boules to pastries and dancing pigs—forms a vibrant ribbon of French identity woven into the fabric of Texas. 

Artist statement: 

Valérie Chaussonnet is a French-American sculptor and painter based in Austin. She studied sculpture at the Corcoran Art School in Washington, DC, while working as a museum anthropologist at the Smithsonian Institution, a specialist of Siberian and Arctic shamanism, Native clothing and women’s art. These themes continue to inform her artwork. 

After moving to Texas in 1997 to raise a family she studied blacksmithing and welding at Austin Community College. Her art, spanning metal sculpture, oil, watercolor, and fiber, is colorful, personal, and story-driven, often treating landscapes as portraits. Key themes include nature, prehistoric, biological and cultural origins, motherhood, love, and human connections. 

A professional artist for close to 40 years, Chaussonnet has exhibited in over 100 shows nationwide in the last ten years, including solo exhibitions in Austin, Midland, and Killeen. In 2024, her large sculpture “Great Mother” was exhibited at the UMLAUF museum. She has shown at Dimension Gallery, MASS Gallery, the Lawndale Art Center, and museums across Texas and beyond.

Process Photos:

French community in Austin:

The French involvement with Texas can be traced back to the failed colonization attempt of La Salle’s “La Belle” ship, which sank in Matagorda Bay, Texas, in 1686. Although the ship still belongs to France, when archeologists dug up the ship, the French chose Austin to safeguard it at the Bullock Museum. Established in 1841, the French Legation became one of the first houses in Austin, and it served as a home and diplomatic outpost for the French chargé d’affaires to the Republic of Texas. It is now a historic site that hosts guided tours, games, markets, and historical workshops. 

A more recently established organization is La Petite Provence Austin, which was created in 1999 by featured artist Valerie. La Petite Provence is a French-language school that offers French and Art classes for people of all ages/experiences. This program welcomes students to learn French through different forms of classes, mixing in art, music, and culinary arts. 

Austin has a vibrant French culinary scene and is home to a variety of bistros, cafes, bakeries, and cooking classes. Fête de la Musique, a music festival that showcases musical traditions shared between Austin and Angers. French’s involvement with Texas started over 300 years ago, but we still see French culture being preserved in Austin to this day. 

Luis Abreux – “Calling Shango”

Calavera Description:

Because time is infinite and injustices persist today, my calavera is an offering, a celebration and a call to Shango.
Shango is the Yoruba Orisha (god) of thunder, lightning, fire, dance, music and virility. Once a mortal king, he was deified and now commands the forces of nature, particularly storms, to enforce justice and inspire courage. He is a powerful, respected, and sometimes feared deity known for his strength, temper, and association with warriors. Shango embodies leadership and authority, wielding a double-headed axe called the “oshe Shango” and is associated with the sounds of the bata drums. With tobacco smoke and spitting mouthfuls of rum into the air, the Santeros invoked the Orishas while the  goat’s eyes stared at me as they cut short its life and the rooster crowed for the last time.  Taken from a very young age, by my mother, to watch and participate in “toques de santos” (Saint’s Touches), or initiation parties, a magical world opened up for me and I began to draw imaginary people and animals.
The deep symbolic and historical resonance of Black churches in Austin are spaces of resilience, resistance, and renewal, much like the spirit of Shango, which honors both the past and the ongoing journey of a people and their beliefs. These churches embody a legacy of faith fused with action.
The story of Mount Olive Baptist Church and the broader tradition that includes the First Baptist Church for Colored—founded in 1867 under Rev. Jacob Fontaine—illustrates the vital role of Black religious institutions in advocating for justice, education, and dignity in the face of systemic oppression. Born from a congregation of enslaved members, these churches became cornerstones of the Black community, offering not just spiritual refuge but also a platform for leadership, organizing, and empowerment. 

Artist statement:

With an intuitive and deliberate creative process, Abreux aims to evoke emotion with his work. He believes that visuals influence and allow the viewer to travel and find new creative dialogue that ultimately lead to creating new solutions. The human, the immigrant, the memory, the interactions of constant escape and the experiences of interminable travel leading the way on the canvas or the paper. His work absorbs and melts the before and now, the fantasy and the reality pictured in a surrealist diary that births real experiences and the absurdities of the experiment. Drawings, collages, mixed techniques and all other mediums are used to support his diverse formats. Luis Abreux is an interdisciplinary artist who engages in artistic practice regarding identity and connection. Using drawing, painting, collage, photography, objects, and sculpture, Abreux explores his cultural identity and heritage. His art holistically represents a storytelling timeline that expresses a myriad of his lived experiences that change alongside his perspective on life.

Abreux obtained a Master’s of Fine Art degree specializing in Painting, in 1995, from the San Alejandro Art Academy in Havana, Cuba. He also attended the Taller de Tecnicas Subliminales en el Arte y la Publicidad. Abreux’s art has been shown in museums and galleries around the world and in private collections.  Luis Abreux escaped Cuba in 2005 and lives in Austin with his wife and their beautiful children.

Process Photos:

Black community in Austin:

The earliest communities of Black people in Austin were established by former enslaved people in Wheatville and Clarksville, which were originally freedom colonies. However in 1927 a city plan was set to relocate and segregate African Americans and their communities to East Austin, which became a thriving community filled with culture, art and landmarks. 

In 1867 the First Baptist Church for Colored was founded by Rev. Jacob Fontaine and in 1889 the Mount Olive Baptist Church was founded by Rev. James H. Harold these churches became one of the city’s oldest Black congregations. Six Square (Austin’s Black Cultural District) and the African American Cultural and Heritage Facility (AACHF) are groups that focus on preserving Black culture. Six Square hosts tours that explore historic landmarks, churches, cemeteries, restaurants etc. all while teaching you about the history of the places and the people that contributed to the history of Austin. 

Some important landmarks in Austin include the George Washington Carver Museum, Huston-Tillotson University, Downs Mabson Field, Victory Grill, and the Texas African American History Memorial. 

In recent years, Austin has made an effort towards urban renewal and East Austin has been facing the effects of gentrification. This has begun to drive small businesses and Black residents out of East Austin. Although this is tragic for the Black community in Austin, some groups and communities keep fighting for the preservation of African American history and spaces in Austin.

Luis Angulo – Flor de mi gente, 2025

Artist statement:

Luis Angulo (ULOANG) is a visual artist and muralist originally from Caracas, Venezuela, currently residing in Austin, Texas. By using murals and street art as his main forms of expression, ULOANG aims to create art that is accessible to all. His work explores themes representing social and cultural issues in the world around him.

Although originally trained using traditional materials such as oil paints, and charcoal —spray paint has become his primary tool for creating art. He celebrates this medium as a powerful tool for creating impactful moments both indoors and outside.

Process Photos:

Latine/x community in Austin:

Following the Cold War, South Americans from countries such as Argentina, Chile, and Colombia began migrating to the United States in greater numbers, driven by economic instability, armed conflict, and political unrest. Since then, immigration from the region has steadily increased. In Austin, this migration has contributed to a growing and diverse Latine/x population—now the largest minority group in the city.

A variety of organizations work to support and amplify the voices of the Latine community in Austin. The Greater Austin Hispanic Chamber of Commerce advocates for Hispanic business owners and entrepreneurs, while Latinitas empowers young Latine girls through culturally relevant education and mentorship. The Latino Artist Access Program provides local artists with affordable space and resources to develop and showcase their work.

Community and culture thrive in public spaces across the city. Markets like 812 Outdoor Market, Austin Country Flea Market, and Marketplace Austin offer South American imports, food, and gathering places for community connection. Austin is also home to a wide selection of South American restaurants and bars, where authentic cuisine brings the flavors of the region to life. In addition, Austin celebrates and preserves Latine/x culture through spaces like the Benson Latin American Collection, one of the premier libraries dedicated to Latin American and U.S. Latine/x studies; and Carnaval Brasileiro, a vibrant annual celebration inspired by Brazilian traditions. Together, these spaces and organizations reflect the resilience, creativity, and cultural richness of Austin’s Latine/x and South American communities.

Cindy and Ernesto Hernandez – Guardians of the Sacred Path, 2025

Calavera Description:

In this calavera the artists include 5 sacred animals from the Coahuitecan origin story, set within a continuous spiral of water which circles the skull. The spiral represents the belief that humans came from water onto land with the help of these 5 animals. At the bottom of the calavera bones are represented, symbolizing the ongoing effort of Coahuiltecan elders – under the program known as “repatriation” – to reclaim the remains of their ancestors, many of which are still stored at universities such as UT.

Artist statement:

Ernesto and Cindy Hernandez are Indigenous, community-oriented artists based in Central Texas whose practice centers on storytelling, cultural memory, and connection. Ernesto began painting murals at age sixteen along the border of Ciudad Juárez and El Paso, while Cindy’s work grew from tattoos, henna, and narrative composition shaped by her upbringing in Dallas’s multicultural community, Oak Cliff. Together, they merge ancestral traditions with a forward thinking approach, creating public art that transforms shared spaces into places of belonging. Their collaborative practice spans murals, installations, and traveling printmaking workshops that engage audiences of all ages. They have led youth mentorship programs, taught at the Indigenous Cultures Institute’s Summer Youth Encounter, and will serve as guest instructors for the Headwaters at the Comal Archaeology Program in Fall 2025. Their large-scale murals double as community engagement opportunities, inviting youth and adults to co-create, express themselves, and strengthen bonds with neighbors. In addition to drawing on ancestral roots, they embrace modern technology and new mediums. They combine photos, audio, video, and storytelling into augmented reality, resulting in multisensory experiences that amplify community voices. This approach shaped their largest mural to date, Taking Flight. Their murals can be found across Austin, San Antonio, San Marcos, and Pflugerville, including Knowledge is Power (UT Latino Studies, 2025), and Taking Flight (Texas Mutual, 2024). Their work has been featured in Tribeza and Texas Town and City Magazine. Rooted in collaboration and storytelling, their art bridges tradition and innovation to inspire connection, belonging, and collective identity. 

Process Photos:

Coahuiltecans in Austin:

Native American peoples, including the Coahuiltecan, Tonkawa, and Comanche, have a long history in Central Texas, with early inhabitants like the Coahuiltecan being one the original peoples of the area that now includes Austin and San Marcos. San Marcos, Texas, is the site of one of their ancestral homelands and a place for cultural preservation and celebration, with local organizations like the Indigenous Cultures Institute and the Tāp Pīlam Coahuiltecan Nation actively working to preserve the culture, traditions, and language of these communities. The San Marcos River area, including Spring Lake, is considered a sacred site for the Coahuiltecan people, with descendants actively practicing ceremonies and living in the region. 

The Native American Cultural Center located in 3100 E 4th St #118 was established in 1991 and had its grand opening September 27th 2025. They are dedicated to celebrating and preserving Native American traditions through cultural programs, education, health, and community development. They host movie nights, workshops, and they hold an annual Pow Wow. 

Amado Castillo III – El Barrio, 2025

Artist statement: 

Austin, Texas born and raised, Amado Castillo III grew up on the Eastside during the late 1970’s. It was in elementary school that his curiosity and drive for creating became noticeable to his teachers and peers. In 4th grade, one of his teachers recommended him for an opportunity that would allow artistically gifted students to follow an active member of the Austin art community. His then mentor, Raul Valdez, a highly respected muralist of the moment, propelled Amado into using paints, brushes, and canvases as opposed to paper and pencil. As time passed, his skillset became stronger and his appreciation for the contemporary style solidified.

From a young age, Amado has had an innate sense of duty and discipline for family; that proved true when his father became a pastor. He began helping heavily in the church, where he explored a different artistic avenue–music. If he wasn’t painting, he was almost certainly making music. These two pastimes occupied and grounded him from getting involved in gang activity that was booming back then in the Eastside.

From a young age, Amado has had an innate sense of duty and discipline for family; that proved true when his father became a pastor. He began helping heavily in the church, where he explored a different artistic avenue–music. If he wasn’t painting, he was almost certainly making music. 

Process Photos:

Chicano community in Austin:

The Chicano community in Austin has a deep and resilient history. Like the Black communities in Austin, early Chicano residents faced segregation and were forced to move to East Austin. Despite these challenges they have created a vibrant and thriving community. Over the decades, Chicanos in Austin have contributed to the city’s identity through art, music, education and political movements—especially during the Chicano Civil Rights Movement of the 1960s and ‘70s. The Chicano presence in Austin remains strong, with ongoing efforts to preserve their heritage and celebrate their legacy.

One of the most iconic cultural expressions that have emerged was lowrider culture, which originated among Chicanos in post-World War II California. Lowriders—cars modified with lowered bodies—became symbols of identity and pride, driven “low and slow” to showcase both craftsmanship and culture. By the 1970s, lowrider culture made its way from California to Austin, where it quickly resonated with Chicano Austinites. Today, groups like Austin Lowriding, and families like the Colungas carry that legacy forward, hosting community events, exhibitions and fostering community.

Candy Yu Yen Kuo – Across Land and Sea

Calavera Description:

This calavera is a celebration of my heritage, my ties to both my homes in Austin and Taiwan, as well as a piece of Austin’s Asian-American history that found root in downtown through the Lung family. 

A lion dance head beams through from the calavera’s face, a symbol of joy, luck, and fortune. These creatures often dance at celebrations, with the accompanying music and drums believed to be a deterrent for evil spirits. 

Along the sides, twin fish, one adorned and painted traditionally, a nod to grace, beauty, and prosperity. The opposite side, with touches of aerosol, imperfect with drips represents the break from tradition, the cutting of old ties, the breaking of generational trauma and curses. To be unapologetic and present, of the moment and in it. 

Joe Lung is featured across the back, an important figure in the Asian-American community in Austin’s early days. Originally a young rail worker, the eateries he eventually opened fed over three generations of families. Flanked on his sides are some Texas Star mushrooms. A rare fungus that hisses, it is found only in Texas, Japan, and very recently was also discovered in my home country of Taiwan, a beautiful thread of connection that ties me to both homesteads, oceans apart.

Artist statement: 

Born in Taipei and raised in South Texas, Candy seamlessly weaves together Eastern and Western aesthetics, producing a style that embodies the bridge between diverse cultures. Her artwork often displays a captivating dichotomy, where vibrant colors depict dark narratives and low brow aesthetics harmonize with refined artistic techniques.
Over the past seven years, she has made significant contributions to the field of large-scale installations and murals. Having called Austin home for more than half of her life, she possesses a deep connection to the heart of Central Texas, which is beautifully reflected in her portfolio. Her versatile style ranges from realism to bold, graphic designs, showcasing her mastery of composition, expression, and illustration. Through these transformative creations, she effortlessly communicates stories and emotions without the need for words or sound, inviting viewers to immerse themselves in her visual symphony.

Her extensive experience in large-scale installations and murals is a testament to her expertise and commitment to her craft. In addition to collaborative work with local leaders, communities, artists, and organizations, she often embarks on solo mural projects with a recent notable accomplishment covering an expansive area of approximately 900 square feet. From operating scissor lifts to working on scaffolding in diverse conditions and meeting people from all over, she adeptly adjusts to the unpredictable nature of the industry.

Process Photos:

Asian community in Austin:

Asian immigrants have been present in Austin since the 19th century, when Chinese immigrants arrived they were laborers in railroad construction. It wasn’t until the 20th century when the Chinese Exclusion Act was repealed and some changes in national immigration policy, when the Asian population began to significantly grow. 

In 2013 the Asian American Resource Center (AARC) opened, and their goal was to create a space of belonging for Asian Americans in Austin. They provide a space for Asian Americans to explore their creativity and identity through the arts, culture, and history. Alongside the AARC, The Lotus Gallery is a gallery founded in 2001 that focuses on showcasing Asian art and antiques. Austin hosts an annual Lunar New Year festival filled with dancers, vendors, food and music, and other events like the Dragon Boat Festival and the Austin Asian American Film Festival. Although there is no official Chinatown in Austin, there are numerous Asian restaurants, markets, and community spaces that can serve as a connecting opportunity for Asian Americans in Austin. In these past few years, Austin has created a diverse scene of Asian cultural events, galleries, businesses, and cultural hubs that is continuing to grow.

Colectivo Última Hora

The celebrated Colectivo Última Hora from Mexico City specializes in large-scale marionettes. Their monumental marionettes were featured in the opening scene of the film Spectre. The Colectivo Última Hora was founded in 2004 by students of the Fábrica de Artes y Oficios Oriente, also known as FARO de Oriente, which is a cultural center and arts training facility located in Mexico City. The Última Hora Collective is dedicated to the promotion and dissemination of plastic arts focused on the popular cultures of Mexico. Colectivo Última Hora works on sculptures and sets, in small and large formats, in diverse materials such as traditional cardboard, carpentry and artistic blacksmithing, as well as the use of polymers and resins for various finishes.

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