Rodney Millar Curator

I grew up in Canada as a very curious, creative kid—so much so that today some might say I’d have been put on medication! Sports and academics never really grabbed my attention, but music, art, and anything out of the ordinary completely fascinated me. Luckily, I came from a large family full of creative people who excelled in music, theater, art, and business. That combination of artistic passion and business acumen has shaped my life in countless ways.

When I was 11, my father came back from a trip with some stone, and that’s when I fell in love with direct carving. That love still guides me; nowadays I cut jadeite gemstones. In fact, my family members all thrived in their own pursuits, whether it was on stage, in the studio, or in business.

One of my earliest “exhibitions” was when I was eight, showing off my plasticine figures at a neighbor’s cottage in Manitoba. I was decked out in a Speedo bathing suit my mom made for me, wearing a Beatles wig. I look back on it now as my first performance art piece—or maybe my second, if I count playing a gender-bent role (Goosie Loosie in “Chicken Little’s The Sky Is Falling”) at the age of six!

School didn’t come easy to me, but once music and art programs took off in junior high and high school, things started to click. Of the 19 credits I earned—short of the 20 needed to actually graduate—9 came from music and art classes. Those teachers truly saved me.

After leaving high school early, I discovered that travel was the best way to cure my curiosity. At 18, I moved to Costa Rica and Panama, where I learned about plants, cultivation, and indigenous cultures. I also developed a lifelong passion for Afro-Caribbean art, music, and culture. To this day, Afro-Caribbean and Cuban influences drive my artistic perspective, from collecting and curating to studying Afro-Cuban folklore as a percussionist. I practice Cuban Santería, am an Omo Aña, and continue on the path to possibly becoming a Babalawo (a keeper of secrets or priest).

In 1988, I moved to Los Angeles to carve large-scale marble and granite pieces, which sparked my interest in art collecting and curating. I taught direct carving, but sadly lost five years of my work to the Northridge earthquake. That was devastating, but it also nudged me further into Afro-Cuban music, religion, and studio percussion.

I’ve traveled widely, never as a tourist but always as a participant, and it’s given me a wonderfully diverse life. Jadeite (and other gemstones) remain central to my story—I learned gemstone cutting years ago here in San Miguel de Allende from the amazing jeweler Kim Cevora. Whether I was smuggling gems from Burma into Thailand or mining in Guatemala and Cuba, jadeite has provided beyond my wildest expectations and allows me to pursue many other interests, including running the Yambu Gallery here in San Miguel.

Having lived in Mexico—and with family still here—it seemed natural to build a cube structure and sculpture park in San Miguel de Allende. As far as we know, there’s nothing quite like this in central Mexico. The cube concept originated in France, and I’ve always been drawn to the idea of a purely cube-shaped space showcasing art. In my view, the focus should be on the artwork and the conversations it sparks. You can find coffee, wine, flowers, and big windows just about anywhere—but at Yambu, art is everything.

I represent several international artists, including Cuba’s most celebrated artist, Alberto Lescay Merencio, and one of Mexico’s finest, Alberto Lenz. We’ll be featuring their work in our opening show, “Show #1 Yambu.” It’s open to the public for one evening only, then by appointment.

Alongside this, my partner and I are bringing O Salon Sur to San Miguel. It’s a salon that artist and collector Linda Kunik has hosted in Beverly Hills for about 16 years. In Los Angeles, O Salon Sur is one of the most sought-after venues for artists, curators, and gallerists to showcase and discuss their artistic journeys. We’re excited to see it take root here in San Miguel as well.