In my work I have explored various mediums. I trained as a painter; both drawing and painting were the foundation of my practice before I started doing site-specific installations exploring my relation to the urban landscape of Mexico City, which I often documented in photographic archives. From there, I elaborated different series of works that analyzed the failures of modernism in Latin America (e.g. Highway Follies or Espectacular Telón). Soon after, I engaged in the use of fabric as a primary medium due to its relation to the body as well as its ability to adapt to different contexts depending on where the fabric was sourced. These fabric works are often completed through public participation. By engaging in different collaborative and exchange strategies with the public I aim to dismantle preconceived ideas of the legacies of modernism and those related to art making and the art market, and expose dynamics of mass consumption from a feminist perspective.
While at Headlands
After a long period of engaging in large-scale installation works primarily based on public participation, I am at a point in my practice where I would like to focus on an intimate body of work through drawing. I am currently preparing for an exhibition featuring autobiographical drawings through which I’m exploring ideas related to loss and acceptance of change. I would like to use my time at Headlands to continue this work. I am curious to see if my “personal” work could eventually feed into my collaborative project-based work. I have often been interested in destabilizing the notions of public and private, and this might be a good opportunity to do so.
Banner image: Here Comes The Sun, 2019; Traded second hand shirts from Queens and Harlem, 12 m diameter; Image credits: Enid Alvarez © Solomon R. Guggenheim Foundation, New York;