Much of the work of Villegas is inspired but the concepts of identity and “sense of self”. As Villegas explains, “As adolescents we are either given an identity or adopt that of our parents. We do not question our existence or our greater purpose, we are simply beings in a world we know little about. However, as we grow, our curiosity about ourselves and our origins ignites, for many of us it becomes a flame that hungers for purpose and recognition. As this newfound undertaking arises, we begin to seek answers and thirst for a history to call our own, to better define who we are and where we come from”. While this development of a sense of self is a seemingly natural one, in her work Villegas speaks to how the development of identity for those of her culture has been grossly tampered with and the change that must happen in the future to prevent more damaging effects; “Despite our increasing population and our new-found celebration of our Mestizaje, we continue to be seen as the “other,” and are deprived of adequate representation and recognition. Furthermore, we’ve seen our culture dissected, portrayed in mainstream media as a commodity, appropriating our Mother Land and her history. As a member of the Mestizo offspring, I am one of many who have challenged this reality and utilized the flame within myself to ignite a change in our future”. Villegas explained that, “My work explores the consciousness of a people living on the border of these two realities, in a state of “Nepantla.” As I have gone to educate myself on the history of my people, I have equipped myself with the ammunition of knowledge necessary to stand against the long history of oppression, marginalization and xenophobia plaguing our daily lives. I am inspired by authors who use their media to perpetuate narratives of racial reenvisioning, double consciousness and cultural beauty, such as, Gloria Anzaldúa, Cherríe Moraga and Laura E. Pérez”.

Being a driving force of change while bringing attention to the hardships faced by her culture, Villegas is making a name for herself and using her platform to create spaces for real discussion and change to happen. She said, “I would like to believe that this has been my most impactful contribution to the ceramic community, using my medium as a driving force to induce change and demand recognition for a time of great suffering”. When asked about her favorite piece of work, Villegas spoke of her piece entitled La Matanza (The Lynchings). Villegas explained that, “It has been my most taxing piece, both mentally and physically. As this vessel’s purpose was to highlight a very sensitive and often times ignored history of extralegal violence perpetuated by Texas Rangers against Mexicans and Mexican Americans in the Southmost states of the U.S. in the early 20th Century”. At 38” tall, this hand sculpted piece made of coils is the largest she has created and presenting the correct voice through the piece was of utmost importance; “It was imperative that I approach the subject matter in a respectful and thoughtful manner, it needed to be both informative and provoking, without revictimizing the individuals involved. Which in the end was the most important part for me, which in turn became the most emotional aspect of the entire undertaking as well”.

Beyond exposing her audience to the true experiences and stories her work portrays and opening the floor for honest dialogue, Villegas hopes her work has an impact on other artists and inspires them speak with their own purposeful artistic voice. She said, “I would hope to inspire other artists to make work that makes them uncomfortable, that teaches them the importance of their voice and their role as an artist. Being an artist of their time is incredibly important, it becomes their responsibility to use their media to perpetuate a narrative of their time and record history through their work”. As an artist who works with multiple media and techniques herself, Villegas speaks to the importance of experimental learning and how a better understanding of both will lead to work that more clearly carries the artistic voice through to the viewer; “I would encourage student artists to experiment, experiment with glaze, alternative firing techniques, form, building techniques, design, etc. Do not limit yourself to one or two techniques or methods in any area of ceramics. Most importantly, read, do your research when it comes to building functional, structural and conceptual work. The more you know, the more you and more importantly your audience will be connected to your work”. When asked what question she would pose to other emerging artists, Villegas asked, “If there were an artistic world without clay as a medium, would you be able to continue creating the works you’re making now in an alternative medium? Would they have the same impact? Why or why not?” With a clear understanding of her inspirations and the messages she wants to convey with her pieces, Villegas is using her art to pave the way for an honest discussion about the truths of the past, the uncomfortable issues that still exist in the present, and the changes that must be made to create an inclusive and diverse future. Jessica Villegas embodies the concept of “art reflects life” while successfully harnessing her role as an artist and her platform to make art that discusses some of the most important issues of the world and is just as beautiful as it is truly exceptional.