Meet Jeff Valenzuela | Photographer, Activist & Educator

We had the good fortune of connecting with Jeff Valenzuela and we’ve shared our conversation below.

Hi Jeff, what role has risk played in your life or career?
Taking risks has been central to, not only my career but in my life, in general, these past 5 years, even though, for most of my life, I never considered myself a risk-taker. Even the decision to leave Los Angeles, the place where I was born and raised, was because the job I had at the time, relocated to San Diego. So, for me, there weren’t a lot of risks involved in that decision.

Fast forward a few years to 2018, I had been spending most of my time outside of my day job, organizing and getting more involved in movement work. Specifically, in the immigrant rights movement and supporting migrant-led organizing south of the border in Tijuana. All the while, I was getting more serious about photography, and documenting everything I was doing, and all the work that was happening at and around the border. Then, in May of that year, I decided to quit my job of 12 years, with no idea of what I was going to do next. I took advantage of the little bit of money I had available, and the free time I suddenly had, ended up in Tijuana with my camera and a suitcase, and my life forever changed after that. That, for me, was probably the biggest, and most significant risk I had taken.

Since that moment, it almost feels as though my life has been one constant series of risks in one way or another. Taking risks has forced me to step out of my comfort zone, and really grow as an artist, as an activist, and as a person, in general.

Let’s talk shop? Tell us more about your career, what can you share with our community?
In 2018, when I decided I wanted to pursue photography in a more serious way, I had no idea what that meant or what that would look like for me. My original plan was to go to school, study photography, get a degree, and then, I don’t know, I would be a photographer, I guess. You know, the linear career path that we’re always taught or made to believe. But that’s not how things worked out for me.

At the time, my focus was mainly on organizing and activism, and there was so much happening here at the border. There was a constant media presence, and I remember seeing the way some of these reporters interacted with members of the migrant caravans, and migrants in Tijuana, in general. That, in addition to the images that were coming out, it really pushed me to think more critically about my photography, and documenting these struggles that weren’t necessarily mine after all, but rather, I was an ally to. A lot of the images I saw coming out around the topic of migration, specifically migration from Central America, seemed to focus a lot on the suffering people experienced, and the constant victimization of these communities. I didn’t want to do that. I wanted to use photography as a tool to push back against the harmful narratives that were dominating the political sphere at the time. I wanted my photography to be about solidarity more than anything. But to be honest, I didn’t exactly know how to do that because in a way, I was barely starting out. What I did know is that I wanted my work to contribute to these movements rather than extract stories from them.

I have always felt a great deal of responsibility to the communities and movements I photograph. I wouldn’t be able to do what I do if it weren’t for the trust and relationships I’ve built with the communities I work with, and that’s something I don’t take for granted or take lightly. A lot of times that means missing a shot because it could expose someone or put someone at risk because of their vulnerable situation. And I’m ok with that. Those are some of the biggest challenges I have had as a photographer, and as a storyteller. Finding ways to protect people’s identities while still trying to capture an emotion and create photographs that still feel authentic. Being a photographer in these spaces requires you to constantly question your role, and really be critical about your practice and what you’re doing.

From August to October of 2018, I was organizing with migrants in Tijuana who were repeatedly being subjected to the abuse of power by the municipal police in Tijuana, and I was constantly taking photos of everything we were doing. At the marches, protests, conferences, and everything in between. I documented everything. Then, as part of the closing of the campaign, we were organizing a big public forum with the heads of various government and state police agencies in the city, and someone suggested that we have an exhibition of my photographs as part of the forum. The idea that my art, my photographs, could contribute to the campaign, and that it was a proposal that came directly from the folks involved, was, for me, a huge accomplishment, as well as a sign that I was doing something right. I couldn’t have asked for a better first exhibition of my photography.

If you had a friend visiting you, what are some of the local spots you’d want to take them around to?
I’d probably suggest we head south to Tijuana. Start with some tacos campechanos (carne asada and chorizo) at El Chaparral, which is right outside of the Ped West pedestrian crossing in Colonia Federal. From there, you can head over the pedestrian bridge to Enclave Caracol for a coffee at Café Rabia. Or maybe grab some maíz azul (blue corn) quesadillas de tinga de pollo or huitlacoche at La Hoja Verde, which is located in Pasaje Revolución off of Avenida Revolución (across from Pasaje Rodriguez). You can grab a beer at Mamut Cervecería. Head to Ciruela Electrica to dig for records. Catch a show at Moustache.

If we had to stay in San Diego, I’d probably start by grabbing some film at Nelson Photo. Then some record digging at M-Theory Music and Soul Shack Records. Head to Ali’s Chicken & Waffles in City Heights for a chicken sandwich and a Thai tea or pick up some banh mi sandwiches at Saigon Sandwiches. They have a great 3 for 2 banh mi special.

Shoutout is all about shouting out others who you feel deserve additional recognition and exposure. Who would you like to shoutout?
I’d like to dedicate my shoutout, first and foremost, to my partner Nelly. She’s been a constant source of inspiration, support, and love, and I would not be here without her.

There are so many people who have played a part in me getting to where I am today. San Diego’s art community and the community of people doing movement work in the city have been incredibly generous and welcoming to me over the years.

The first time I exhibited my photography work in the U.S., was thanks to Ymoat Luna and Roberto D. Hernandez over at Centro Cultural de la Raza, who invited me to show work in their space a couple of times for the Enero Zapatista event that they help put together there every year. I have so much admiration for the two of them, and I’ve learned a great deal from being in community with them.

Until very recently, I worked as a teaching artist for a local art non-profit in San Diego, where I was able to meet and learn a lot from some really talented artists and educators. Artists and educators like Josemar Gonzalez Lizarraga, Diana Cervera, Luisa Martinez, and Lorain Khalil Rihan. They’re all really talented artists in their own respective practices, and I’m really grateful to have been fortunate enough to cross paths with them, and collaborate on different projects with them over the years. Also, a big shoutout to the very talented photographer, Beto Soto! His portraiture work is incredible, and I recommend everyone check out his work (and hire him)!

I’d also like to shoutout my dear friend and brother, Alex Mensing who has been such a huge part of my life these past few years, and who I’ve learned so much from. There’s a ton I can say about him, but ultimately, he’s just a really exceptional human.

Instagram: geoffrey_the_butler

Image Credits
Jeff Valenzuela