I was born into a collective consciousness shared with my twin sister. Dealing with boredom and interpreting reality were communal discernments. We were in a constant conversation, mostly gestural and outside language. My art practice acts as a surrogate for that missing second consciousness, exploring themes of metabolization and the ways in which our bodies process the various experiences and stimuli that we encounter in the world, like emotions, food, digital media, and other aspects of contemporary life.
When I was eight, my twin sister and I lived with our parents in a pecan orchard where they started an Agropecuaria, a multi-faceted project that included things like raising goats and honey bees, and harvesting pecans. My mother made cheese, grew hydroponics, and propagated edible mushrooms, while my father, raised the goats. The project tragically ended after the goats got a deadly virus and began dying. My family immigrated to California two years later. My practice is deeply informed by these experiences.
I create sculptures and installations with ceramics, found objects, and biomatter. These hybrid objects exist in spaces of transformation, such as a stomach becoming a tree trunk, an intestine becoming a territorial marker, or a pot becoming an anthropomorphic machine. The materials I use, like clay, pinto beans, hair, guajillo peppers, and found objects, arise from memories of my upbringing and my cultural background, like digging my hand into a bucket of raw beans, scraping the yellowing crust of handmade cheese, or kicking the red clumps of dirt off my shoes in my grandfather’s ranch.
Ultimately, my work explores the inner workings of the body and the ways in which it struggles to metabolize the vast array of data that it processes; the complex interplay between the physical and the psychological and the natural and the artificial, alongside the potential for harmony and failure in these relationships. It explores those through systems that drip, strain, and dissolve. It is also in contact with concerns such as post-colonization (the effects of colonialism on people and their survival), generational memory, identity, disease, and trauma.I am kin to artists of Brazil’s Avant Guard movement of Antropofagia, other artists such as Cang Xin, who examines the connection between taste and language, and the surrealist literature of Leonora Carrington. I am interested in the blurring of boundaries between objects, organisms, and technology, as explored in the Cyborg Manifesto. These propositions expand metabolization to the processing and transformation of reality through inward and outward systems, including flow, drip, filtration, stagnation, bacterial growth, and decomposition.