Grounded in Indigenous ontologies, Latinx anthropology and nepantla, I seek to understand the sonic and oral traditions that have populated the Americas for millennia as a way to repair, reclaim and reimagine temporalities of healing and to tell stories across time and space. I gaze at the night sky the way my ancestors did, to inquire about how to make sense of the world and ultimately connect with them and their stubborn capacity to survive within us. I re-construct pre-Columbian instruments that have been locked away in museums, reclaiming their sounds and sovereignty. Through this act, my body becomes a vessel for the most primal creative force. I perform so that we may reaffirm our connection to the earth. To adorn these instruments and to turn them into ceremonial objects, I use achiote, mango leaves, shells, tobacco string, and iridescent pigment that reminds me of the skies in the coast of Ecuador, the ancestral homelands of my ancestors who played these instruments. My work is the past and future conjugated in the present. By reclaiming we remember; by remembering we heal. I imagine how sounds and rituals can restore a subjective-geographic relation to living systems and engage with intersectional technologies that can dismantle imperialism and ecological degradation in order to tend to the earth and heal mutually.

I create expressive, colorful vessels and botanical sculptures that complicate the relationship between surface and form. Beginning with historic wallpaper patterns that evoke feminine domestic spaces, I repetitively rework motifs from these sources into illustrations and ceramic objects. I imagine these patterns being squeezed out into space through my hands, peeling themselves off the walls they originated from and taking three-dimensional form. As my work confronts the viewer in the round, I imagine it taking on a life of its own, developing a personality and vibrant agency. I feel that I am able to collaborate with my sculptures, seeking an escape from the historic standards that have been applied to women and their creative work. However, I am also seeking the joy and comfort that can be found by embracing the decorative and elements of my own femininity.

Colonizer legacies in the contemporary Hudson Valley landscape: addressing commerce culture in food systems and the home through absurdist interventions.

I collect things that drive my curiosity; a small selection of those items inspired this body of work. Handmade and repurposed materials merge with printmaking and transform into books that invite the viewer to consider the possibility that flea market finds and lost buttons can hold a bit of joy and wonder. My curios gain new life as soft floral dinosaurs dealing with bullying, an industrious bird building a fashion empire, a desire to hoard things that might be useful, and a somewhat conflicting eBay listing.

Following an evolution of the fishing industry, my tool collections have been created as emblematic objects of human consumerism. My fabricated works draw curiosity with the refined metal objects themselves, but they also incite a sense of danger with sharp lines and points indicating that human consumerism is dangerous and harmful to the environment. My research has focused on the inevitable extinction of the voiceless sea creatures that are rapidly becoming endangered due to human activities. I examine how metals have been used in human history, how they have been wielded toward animals and the environment and I have reinterpreted these tools and weapons through the perspective of an artist. I invite the audience to explore the relationship between self, tools, and the fragile natural world, and to consider the direction in which we will make history on this planet.

My work explores the experiences of immigration, geographical displacement, uprootedness, and acculturation through abstraction. My production is influenced by surrealist automatism where I suppress conscious control over the making process, allowing my unconscious mind to have greater dominance than logical, figurative control. Thus, my creative process captures the simplicity of objects, shapes, and landscapes using texture, dimensionality, and movement that do not attempt to represent a specific depiction of a visual reality, but that altogether evoke curiosity and wondering in the viewers where they assign basic meanings and interpretations to what is observed.

As my work addresses my history of chronic illness and how it led to me becoming an athlete, I am also exploring the depictions of chronic illness in art. I look at other artists who suffer from illness and how they represent or depict their illness in their work. Every experience with a chronic illness is unique to the individual. Some painters are impacted in ways that affect how they can create work, and others are influenced in subject matter or representation. I am using my time in grad school to not only become a fast swimmer, but to learn what it means to be an athlete. I am also unraveling my intricate journey through severe illness and how this history has impacted my painting practice, both in subject matter and the way in which I paint.

My graduation creation is a series of drawings, the material used is charcoal pencil, I named the series of works "World". The epidemic that started in 2019 and quickly spread to the world has brought disaster to human beings. Since then, not only diseases, but also all aspects of human life have undergone tremendous changes. Everything we used to know has become unfamiliar. This is the background of my drawing works. I raise new questions about human existence and hope that people will rethink how to coexist between human beings and between human beings and nature.

My work is intended to target the hypocrisy that is found in many white suburban communities, with which I am very familiar as I have lived on Long Island NY for most of my life. Many think that because the abuse of power by the police disproportionally targets minority communities, that they shouldn’t care, or that the victims are somehow at fault. Even those who were asleep in their own homes, such as Breonna Taylor, are not safe. It is my view that we are not free until everyone is free.

Passing Strangers, after the iconic 1974 porn film by Arthur J. Bressan Jr., celebrates the desire for the male body and longing for its touch. This body of work is a collection of monochromatic figurative oil paintings, personal Polaroid photographs, and found objects.