The first job out of Pratt for Edel Rodriguez, BFA Fine Arts ’94, was at Time magazine. Fast-forward to 2016, when he took a cover commission for the magazine that would be his first in a series of iconic political illustrations—for Time as well as The New Yorker, Der Spiegel, and more—that earned him the moniker “America’s Illustrator in Chief” (Fast Company). He tells these stories in his debut graphic memoir, Worm, which begins with his earliest memories of Cold War Cuba and his family’s emigration, and traverses his new life and immersion in American culture in Miami, his coming of age as an artist (at Pratt and in New York City), and behind the scenes of his bold, incisive work over the last eight years.

With a picture book rendition of his childhood experiences, The Mango Tree (La mata de mango), published this summer, and a French edition of Worm on the way, Prattfolio caught up with the award-winning New Jersey-based artist-author to get a glimpse of his practice and see what’s feeding him creatively right now.

1.

I work in my home studio, so I spend some time each day organizing the space, planning my time depending on deadlines or what I feel like doing that day. I work as both an artist and a writer, so there’s a variety of things to think about and set up for. Drawing is the one activity I always go back to that helps me stay grounded. It’s how ideas are generated. I sometimes go back to some of the drawing materials I’ve used in the past and enjoy finding new uses for them. I like working outside in my yard as much as possible, and drawing on paper is the most portable medium for me.

A Spanish-language poster that reads "Victoria! Destruccion total del fascismo" with a graphic of a monster in flames, melting to the ground beneath a large red star
From Mexican Prints at the Vanguard at The Metropolitan Museum of Art: Angel Bracho (Mexican, 1911–2005), The Allied victory over the Nazis at the end of the Second World War, 1945. Published by the Taller de Gráfica Popular, Mexico City. Lithograph of linocut. The Metropolitan Museum of Art, New York, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1946 (46.46.507).
©2024 Artists Rights Society (ARS), New York/SOMAAP, Mexico City

2.

The things that usually feed my creativity are music, dancing, travel, and art. Whenever I have free time I go see Latin bands in the city or go salsa dancing outdoors on some of the piers along the Hudson River or at bars and clubs downtown. This summer [when the Q&A for this story was conducted] I’m traveling down to Florida and the Bahamas. I grew up down in the Caribbean and I’m always inspired when I’m back in that environment again. I’m also looking forward to seeing a number of art exhibits in the city: Käthe Kollwitz at MoMA, Es Devlin’s work at Cooper Hewitt, and Pacita Abad at MoMA PS1, and in the fall, a show of Mexican prints at The Met [Mexican Prints at the Vanguard is open through January 5, 2025].

Printed Matter in Chelsea.
Photo by Megan Mack, MFA Photography ’21

3.

I always like seeing what The New Yorker, Time, and New York Magazine are doing on their covers. The New York Times for Kids section is exciting; they have a lot of fun with design and illustration, which is great to see. I also like visiting Printed Matter in Chelsea; they have a large selection of handmade zines and artists’ books, a very unique spot in the city.

Edel Rodriguez’s grandfather’s shoe brush. Courtesy of the artist

4.  

The last time I visited Cuba, my aunt gave me the shoe brush that my grandfather used to polish my shoes with when I was a kid. She had kept it all these years. It’s very meaningful to me. I sometimes use it to brush off the remnants of pencil shavings on my desk at the end of the day. It’s created a nice connection with my grandfather again. I feel he’s always there.

A Princeton Velvetouch paintbrush worn from use
Edel Rodriguez’s Princeton Velvetouch brush. Courtesy of the artist

5.

When I worked on my graphic memoir, Worm, I mostly inked it with one brush [a Princeton Velvetouch Round size 6, 3950R]. It started off as a wide brush, but was whittled down to a few hairs by the end of 304 inked pages. I still use it. I also drink about five espressos a day. I would consider that essential.

A palette of five color strips, green, bright red, yellow-brown, cool blue, and magenta
A tropical fruit palate. Courtesy of the artist

6.

I’m working with a fuller and more intense tropical fruit palette, that’s where I’m at right now. Making intense combinations of yellows, blues, reds, purples, and bright pinks come together.  It’s a bit harder and more complex but exciting to work on and figure out.

Cover of Edel Rodriguez's book Worm, with a French subtitle

7.

Worm has been translated into French and will be published in Paris in the fall. I’ve been invited to Paris for the book’s release along with a number of book events and a festival in the city, so I’m looking forward to traveling there and sharing my story with French readers. I feel that many of the topics covered in the book, from migration to extremism, will resonate with readers in France as they have here in America. I’m looking forward to listening to the audiences and talking to them about the issues that are currently affecting all of us. We’re also planning an exhibition of my work at the Coral Gables Museum in Miami. [I’m] looking forward to working with the curators and having my first exhibition in my adopted hometown.