'My work has had a tendency to be a bit autobiographical. Not literally, but under the surface. My reality or state of mind at the time that the collages are made is reflected in the psychology of the work and the stories it tells. For example, the Minotaur was at one time an important personal symbol. I won’t get into the details, but it was a very difficult period of my life and I felt a strong connection and sympathy for this very tragic, and in my mind misunderstood, creature. It was when I finally found the strength to confront myself that the cowboy first appeared in my work. My inner personal conflict played itself out in my studio through drawings and collages where cowboys and Minotaurs battled one another in boxing and wrestling matches. The symbolism runs deep for me depending on how far I wish to track the thread: cowboy vs. Minotaur, American vs. Latino, cocky confidence vs. a shy and reclusive nature. Eventually the cowboy, both in my work and I think in myself, emerged victorious, and the Minotaur retreated back into the labyrinth. So the cowboy in my work began as a psychological projection of strength, a rugged independence that I was personally striving for, rather than as a symbol for anything particularly “western.”' Javier Pinon
Juxtapoz never shies away from a little controversy, and the November 2014 issue featuring a cover story and the works South African-based photographer Roger Ballen. This cover, let's just get right to it: it's disturbing, haunting, intriguing, and yet part of a compelling body of work that Ballen has been building for decades. We are proud to have him on the cover and to tell his unique story.