Tag Archives: contemporary art

AMBER ROBLES-GORDON’s series “Place of Breath and Birth” on view with TAFETA at 1-54

13 Sep

Video of AMBER ROBLES-GORDON’s latest series “Place of Breath and Birth

Amber Robles-Gordon

Amber’s artwork is based on her personal narrative and the intersections of womanhood, patriarchy, hybridism, and Americanism.

Her intention is to further contextualize her narrative and artwork within the political, socioeconomic, and environmental threads that define, control, alienate and/or mistreat Puerto Ricans and Afro-Puerto Ricans in particular.

Place of Breath and Birth

A foundational symbology of this body of work is the Fiscus Elastica commonly known as the Rubber Tree, Rubber Fig or Rubber Plant.

The second most important symbolic layer of the work are the depictions and interpretations of the transitions of day to night and night to day.

“Throughout some of the artworks, I am a figure, a witness to the beauty and complexity of the Puerto Rican landscape”

“Ultimately, I hope this narrative and artwork gives voice to others who walk in brownness—who breathe within a female form, and/or who do not quite fit the norms…yet are Bold and Proud.”

Amber Robles-Gordon’s artwork will be presented by TAFETA at the 1-54 Contemporary African Art Fair in October 2020.

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NATE LEWIS, ‘Remember What They Did’ Billboard Campaign Seeks To Inspire Voter Turnout

8 Sep

 

‘Remember What They Did’ Billboard Campaign Seeks To Inspire Voter Turnout

  SEP 7, 2020

Artist Nate Lewis grew up in Beaver Falls.
CREDIT REMEMBER WHAT THEY DID

“There’s a lot of trust that has been lost because of the President, really — his disregard for science and his disregard for caring for people,” said Lewis.

Speaking of the virus on July 1 – and echoing a frequent talking point of his — Trump said, “that’s going to just sort of disappear, I hope.” The illness has now claimed nearly 190,000 lives in the U.S. Trump’s words are featured in Lewis’ contribution to Remember What They Did, a new, artist-driven billboard campaign meant to spark voter turnout in battleground cities.

Lewis’ design pairs Trump’s quote with the image of a CT scan of a COVID-19 patient. Lewis used the image because “it’s an eyewitness account… about how real this virus is.”

In late August, the billboard was pasted up high over Washington Boulevard, in Larimer, and on North Craig Street, near Bigelow, in the Upper Hill District. In all, there are four Remember What They Did billboards in Pittsburgh, and 10 others split between Detroit and Milwaukee. The campaign targets communities with high concentrations of voters who are young, Black, or Latino. A spokesperson for Artists United for Change, one of the nonprofit groups behind the initiative, said it will ultimately include “dozens of billboards … and hundreds of street art posters” in six cities total.

Artists United for Change is a political committee tied to progressive groups.

There are now seven billboard designs, each by a different artist. The artists include internationally known names like Shepard Fairey (known for his “Hope” poster of Barack Obama) and Swoon (a.k.a. Caledonia Curry, who coincidentally just opened a solo exhibit at Pittsburgh gallery Contemporary Craft).

Six of the seven billboards feature Trump quotes, including “fine people on both sides” (describing counter-protesters clashing with white nationalists in Charlotesville, Va., in 2017), and “When the looting starts the shooting starts,” regarding social-justice protests in May. A seventh billboard targets Sen. Lindsey Graham for saying “I don’t care” in regard to the lengthy detention of migrants at the U.S.-Mexico border.

The initiative’s partners in Pennsylvania include liberal group Keystone Progress. All the billboards feature the injunction “Vote Them Out.”

Lewis’ artwork has been exhibited in galleries around the U.S. He said he left Beaver Falls in 2003, after high school, to study nursing. He took up art while still a student. In 2017, he quit nursing and moved to New York to pursue art full-time. He now splits his time between New York and Washington.

Lewis’ work is often politically themed, and he said he hopes Remember What They Did inspires discussion.

“I hope that it reaches the young people … who aren’t pleased with the current administration, who aren’t pleased with the continual division that’s being sown,” he said. “I hope the people who want to vote the president out, that it sparks them to take action, really, to spread that action, to vote and use their right so that we can hopefully just move forward.”

Introducing Morton Fine Art’s new artist LISA MYERS BULMASH

1 Sep

Get to know the wall mounted sculpture creations of MFA’s newest artist partner, Seattle based LISA MYERS BULMASH, and her “Bought and Paid For” series.

“This triptych of altered books is mounted on antique washboards, exploring the American Dream as filtered through a Black and female lens. The series centers on the heart of that complicated dream: owning a home of one’s own.

A repeating image in the center niche unites the three books: a family photo of the artist’s brother, running into their childhood home. This image is layered over other buildings significant in the African American experience. The first shows a slave auction “house”; the second shows the childhood home of the artist’s mother; the third depicts the artist’s first home in the Northwest.”

Featured here “Bought and Paid For 1 (triptych)”, 24″x40″, altered books mounted on antique washboards. Scroll for details. Contact Morton Fine Art for additional information on Lisa Myers Bulmash and her powerful sculptural creations.
Lisa Myers Bulmash, Bought and Paid For #1 (triptych), 2020, 24″x40″, altered books mounted on antique washboards
(Detail)
Sculpture 1 of 3
Sculpture 2 of 3
Sculpture 3 of 3
Contact the gallery for additional information about LISA MYERS BULMASH.
Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787 (call or text)
mortonfineart@gmail.com

Newport Art Museum to present Miniature World Making At-Home Workshop with Artist Sally Curcio

3 Aug

 

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Newport Art Museum to present Miniature World Making At-Home Workshop with Artist Sally Curcio
By WhatsUpNewp Crew –
July 31, 2020

Newport, RI – Newport Art Museum invites makers of all ages to participate in an at-home Miniature World Making workshop with artist Sally Curcio. Miniature World Making is $30, or $25 for Museum members, and includes a kit complete with materials needed to build your own miniature world inspired by the work of Sally Curcio, along with a link to a special video demonstration by the artist. The deadline to reserve a kit is Sunday, August 9, and kits can be picked up at the Museum during normal open hours beginning August 14. Miniature World Making is appropriate for any age, though adult supervision is recommended for small children. Reservations are available for purchase at newportartmuseum.org/events/miniatureworldworkshop.

Six of Sally Curcio’s miniature worlds are on view as part of Newport Art Museum’s current exhibition, Complex Terrain(s). Curcio has exhibited her work in galleries, museums, and for public installations throughout the United States and internationally. She has shown at numerous museums including the Children’s Museum of the Arts in New York City; the Bruce Museum in Greenwich, Connecticut; the Peabody Essex Museum in Salem; and the Fitchburg Art Museum in Fitchburg. Curcio’s work is in the permanent collections of Smith College Museum of Art, Northampton, Massachusetts; the Fitchburg Art Museum, Fitchburg, Massachusetts; and the University Museum of Contemporary Art at the University of Massachusetts Amherst.

In 2019, Curcio was selected as Lead Artist by the Sheikha Manal Little Artists Program at Art Dubai, United Arab Emirates. She has taught workshops inspired by her art at institutions such as the Children’s Museum of the Arts, New York City; Hassenfeld Children’s Hospital at NYU Langone, New York City; Girls Inc., Holyoke, Massachusetts; boys and girls schools throughout Dubai; and at Art Dubai as part of the Sheikha Manal Little Artists Program, United Arab Emirates. Curcio maintains her studio in Northampton, Massachusetts.

NATALIE CHEUNG featured in PHOTOFAIRS Shanghai : Cyanotype

3 Aug

 

PHOTOFAIRS Shanghai PRESENTS: Cyanotype

August 3 to September 4, 2020

Live from 10am (BST)

photofairs.org/cyanotype 

We are delighted to announce that artist NATALIE CHEUNG has been invited to take part in the online exhibition PHOTOFAIRS Shanghai PRESENTS: Cyanotype. Stemming from a variety of backgrounds and disciplines, the 16 chosen artists all explore the cyanotype process by breaking away from convention to help further the photographic medium.

Contact the gallery for additional information and acquisition.

PHOTOFAIRS Shanghai online exhibition is on view until September 4th, 2020.

 

Morton Fine Art

http://www.mortonfineart.com

+001 202 628 2787

 

ROSEMARY FEIT COVEY’s cover and feature article in Elan Magazine

26 Jul

 

Available artwork by ROSEMARY FEIT COVEY.

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787

http://www.mortonfineart.com

mortonfineart@gmail.com

NATHANIEL DONNETT’s “Acknowledgement: The Historic Polyrhythm of Being(s)” installation at Contemporary Art Museum Houston

24 Jul

ART & EXHIBITS
A Houston artist sends a coded message with his new work for CAMH
Nathaniel Donnett has filled the construction walls around the Contemporary Arts Museum Houston with backpacks that contain photographs, found objects and lights that blink in Morse code.

Molly Glentzer July 23, 2020

Updated: July 24, 2020, 11:19 am

A detail of Nathaniel Donnett’s “Acknowledgement: The Historic Polyrhythm of Being(s),” a public artwork made with LED lights, photographs and the used backpacks of youth in Third, Fourth and Fifth Wards, installed along 120 feet of construction fencing around the Contemporary Arts Museum Houston  Photo: Andrew Buckler / Contemporary Arts Museum Houston

People passing by Contemporary Arts Museum Houston have an eyeful right now with Nathaniel Donnett’s engaging and challenging new public art installation.

“Acknowledgement: The Historic Polyrhythm of Being(s)” occupies 120 feet of construction fence around the building, which is being renovated.

During the day, a long, unbroken line of block letters may spin heads first. They’re a tight mashup of imagined words and phrases common to residents of the city’s Third, Fourth and Fifth Ward neighborhoods. You might have to study it a while to break them apart, but the string becomes a kind of stream-of-consciousness chant: “PSYCHOSLABACKNOWLEDGMAYNEHOLUPBLACKSPATIALISTIC.”

Dozens backpacks hung on the fence bookend the sign, glowing and blinking mysteriously at night. The lights convey a message too — in Morse code.

Donnett’s commission both dresses up the construction site and launches Beyond CAMH, a museum initiative to create community-based work that positions artists as change-makers in society. He gathered some of his materials by collaborating with youth from Jack Yates High School, Kashmere Gardens Elementary, the Re-Education Project, SHAPE Community Center and Change Happens! Through those schools and organizations, dozens of students from Third, Fourth and Fifth Wards traded in their old backpacks for new ones.

The exchanges took place outside the museum during some of this summer’s hottest days, when the temperature was at 100 degrees or more. Donnett, his team and the participants wore masks, and he sanitized all the backpacks as a precaution against the spread of COVID-19.

He filled the old backpacks with LED lights. Some also hold photographs taken by the artist and objects collected from the neighborhoods that reference Congolese Nkisi power figures and ideas about being simultaneously present and absent. Through Morse code, the LEDs pulse out culturally significant lyrics and text: The phrase “Love Supreme” from John Coltrane’s composition “Acknowledgement,” an excerpt from James Baldwin’s essay “The Uses of the Blues” and a verse from Solange’s song “Mad.”

All that may be useful information, but a viewer doesn’t have to decipher any of it to be pulled in. It’s kind of a shame there isn’t a bench across the street where people could just sit and contemplate it for a while. Although the constant, frenetic movement around the fence — cars, walkers and bikers coming and going wherever they are going — seems fitting.

‘Movement and displacement’
“Acknowledgement” is partly informed by the writer and philosopher Fred Moten’s ideas about “fugitive blackness.” African Americans have had to navigate their environment for centuries, since they first arrived in the U.S. as slaves, Donnett explains. “There’s always movement and displacement.”

The families of Third, Fourth and Fifth Wards have experienced gentrification, cultural erasure, income disparities and unjust state and municipal policies. Yet this is no victim’s wall. Donnett’s work expresses power in many forms — the power of direct action, social exchange, language, and the strength and resources of Houston’s Black community.

“It is about memory and history but also about collective exchange, and the use of a type of familiar language and transformation,” he says. “And lastly, everyday aesthetics and Black social life.” The word ‘Being(s)’ in the installation’s title is important, he adds, because “now is a time where people limit Blackness to one thing or another and not the multiple of a being.”

On HoustonChronicle.com: ‘Soul of a Nation’ at MFAH

Donnett is no stranger to works this complex. His 2008 installation at Project Row Houses incorporated a book exchange for Ryan Middle School, and he organized a 2015 project in Milwaukee that involved people of all ages. “Acknowledgement” is the first to reach across three neighborhoods, although he knows them well. Donnett grew up in Third Ward and has always had relatives in Fourth and Fifth Wards.

“Acknowledgement” is a piece of a larger pie, rolled into other work he is producing through a 2020 Dean’s Critical Practice Research Grant from Yale University, where he is a 2021 MFA candidate, and a 2020 Art and Social Justice Initiative Grant.

The Beyond CAMH initiative has another dimension, too.

A ‘vocal portrait’
Unrelated to Donnett’s piece, the museum has opened up a phone line to help create a Houston edition of Texas-born artist their native languages. Anyone can participate by calling 281-248-8730 or visiting camh.org/beyond. A separate time-lapse video to document the work’s evolution will feature people who participated during the project’s first 100 days (through Nov. 2).

Ekene Ijeoma’s national project “A Counting.” That one aims to gather a “vocal portrait” of the city and address the under-counting of marginalized communities in the U.S. census.

Ijeoma, who founded the group Poetic Justice at Boston’s MIT Media Lab, is gathering the voices of Houstonians as they count to 100 in “A Counting” is “a meditation on what a truly united country would sound like,” Ijeoma says. “Houston has reached majority-minority status ahead of the curve across the country.”

CAMH director Hesse McGraw hopes Beyond CAMH will help the museum reach new audiences, embrace “unexpected contexts” and directly impact civic life. While the museum’s doors remain closed during the COVID-19 pandemic, “we’ve had time to think,” he says.

“To be quarantined and disconnected from daily, in-person contact with artists and audience is disorienting for a museum that exists solely for that purpose. Yet … we’re working to reimagine the ethic and practice of a more porous museum — one that spills onto the street, engages in long-term collaborations with artists, meets audiences where they are and serves our communities’ most urgent needs.”

molly.glentzer@chron.com

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AMBER ROBLES-GORDON’s series “Place of Breath and Birth” created in her birth country of Puerto Rico

16 Jul

 

Place of Breath and Birth

Series, Collage, 2020

Botánica del Amor, Autorreflexión y Espiritualidad, 18 x 24, 2020

Botánica del Amor, Autorreflexión y Espiritualidad, 18 x 24, 2020

Place of Breath and Birth

Solo Exhibition at Universidad del Sagrado Corazón, San Juan, Puerto Rico

Background:

As my first opportunity to exhibit in the Caribbean and to deepen my relationship with my birthplace, San Juan, Puerto Rico – la Isla del Encanto (the enchanted island) – I have titled this solo exhibition at Galleria de Arte, Universidad del Sagrado Corazón in Santurce, Puerto Rico, Place of Breath and Birth. My artwork is about my personal narrative and the intersections of womanhood, patriarchy, hybridism, and Americanism. My intention is to further contextualize my narrative and artwork within the political, socioeconomic, and environmental threads that define and are often in my opinion used to control, alienate and or mistreat Puerto Ricans in generally and Afro-Puerto Ricans in particular.

The intention of this exhibition is to empower my five-year-old self. To give her the strength to fight for herself, her language and culture. I was born in San Juan, Puerto Rico and raised in Arlington, Virginia. My first language was Spanish, yet at about five years old, I came home one day and told my mother: “I was not speaking Spanish anymore”. From then on, I responded to my Spanish/English speaking mother in English only. Later, I came to understand that I had surrendered my Spanish tongue—a critical part of my cultural identity— so that I could “fit” a version of myself that could possibly coincide with the prescribed box that others had for a brown-skinned girl such as myself.  Although in time, the name calling ceased, however, the micro-aggressions, insensitive questions, assumptions, and judgments about my brownness lingered. Throughout this life, time-after-time, I have had to choose to identify with my brownness/blackness over the other cultural ties that bind other Spanish speaking people with their culture.

My Caribbean family—with roots in Puerto Rico, the US Virgin Islands, the British Virgin Islands, and Antigua— has long been impacted and splintered, by the search or pursuit of education, better income, and greener pastures. As with all achievement, there are gains and losses. The fruit includes a well-educated family with greater exposure to the world and economic and social opportunities. Yet, the primary sacrifice is our distance from the thickened knotted roots of Caribbean Black and Latino heritage and culture that living at home might have provided. – AMBER ROBLES-GORDON, 2020

IMG_1131.jpeg

Visiting Puerto Rico:

In preparation for this exhibit, my mother and I spent two weeks in September 2019 Puerto Rico. My mother was returning to her childhood home and I was visiting for the first time as an adult. Since then, I have returned to PR to give an artist talk as part of Sagrado de Corazon’s visiting art program and to live in PR for extended period to produce the artwork for this exhibition.  Due to the impact of continuing earthquakes in Puerto Rico from 2019 unward and the COVID 19 epidemic, the format and focus of this artwork has shifted. On July 10, 2020, Place of Breath and Birth will be featured online by the Galleria de Arte, Universidad del Sagrado Corazón on its website at https://www.sagrado.edu/visitingartist/. Additionally, please check out the interview with myself and Norma Vila, Directora de la Galería de Sagrado at https://insagrado.sagrado.edu/las-recientes-iniciativas-de-la-galeria-de-sagrado/?fbclid=IwAR3omEVgPUlcm67lRRBbaliuhimPu6GK-PwK4toQS7CNH0y5IxsidHs9kUw to find out additional details about the residency and my experiences in Puerto Rico.

The Artwork:

Upon its completion, Place of Breath and Birth, will include ten (10) mix-media collages. This digital exhibit includes the first four collage works of the series. Included in this virtual exhibition are the following works: Botánica del Amor, Autorreflexión y Espiritualidad (Botany of Love, Self-reflection and Spirituality), La Island del Encanto (The Island of Enchantment), and Tendedero, Comunidad y Energía Eterna (Clothesline, Community and Eternal Energy). Each collage measures 18 X 24 inches and is made of acrylic paint, magazine paper, permanent ink line drawings, fabric, and other mixed media items.

A foundational symbology of this body of work is the Fiscus Elastica commonly known as the Rubber Tree, rubber fig or rubber plant.  I was introduced to the Rubber Tree while in Puerto Rico on the grounds of the Universidad de Sagrado de Corazón (University of the Sacred Heart) campus. Among its extensive botanical collection of indigenous plants of Puerto Rico; I found a large banyan tree whose broad canopy sheltered smaller versions of itself growing at its feet. This tree appeared to be a literal fusion of past, present and future state of creation or sustaining an ecosystem. In La Isla del Encanto (pictured below) and throughout this series are abstracted representations of the rubber tree– an entanglement of strong roots – as a example of its resiliency this tree most recently stood-fast to its native soil while 155 mph winds that battered the campus.

Isla del Encanta, 18 x 24, 2020

Isla del Encanta, 18 x 24, 2020

The second most important symbolic layer of the work are the depictions and interpretations of the transitions of day to night and night to day. I intentionally choose a studio and apartment on the third floor in Puerto Nuevo with three-dimensional exposure to light. I then surrounded myself with plants to create an internal garden a reflection of the thousands of “porch gardens” featured throughout PR neighborhoods. From this perch, I could see the changing environment as the light increased or waned and how the varying aspects of weather altered each day. Depending on where I stood, and the time of day, I had a virtual window into the varying socioeconomics aspects of diversity of the island. The combination of the verdant and vibrant nature of the island landscape, my internal garden and the third floor weather allowed for the feeling of creating an atmosphere.

As I progressed through researching, photographing, living and ultimately creating after the beginning of COVID 19 quarantine the cylinder abstracted rubber tree forms expanded to circular ecospheres to convey a spiritual and ethereal connections to and within my immediate environment. Throughout some of the artworks I am a figure, a witness to the beauty and complexity of the Puerto Rican landscape – tropical jungle, 1,000 of miles of carreteras, the co-mingling and isolation of three major ethnic/racial groups – Taino, the Spanish and Africans, the strangle hold of the United States and the impact of the Caribbean Sea, with its threat of hurricanes, scorching summer heat and lush landscape.

Ultimately, I hope this narrative and artwork gives voice to others who walk in brownness—who breathe within a female form, and or—- who do not quite fit the norms…yet are Bold and Proud. – AMBER ROBLES-GORDON, 2020

Tendedero, Comunidad y Energía Eterna, 18 x 24, 2020

Tendedero, Comunidad y Energía Eterna, 18 x 24, 2020

Elemental: Tierra, Aire, Agua, Fuego, 18 x 24, 2020

Elemental: Tierra, Aire, Agua, Fuego, 18 x 24, 2020

Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787 (call or text)
mortonfineart@gmail.com

“A Personal Vision” feature of ROSEMARY FEIT COVEY in Williston Northampton School Bulletin

14 Jul

 

Available Artwork by ROSEMARY FEIT COVEY

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787 (call or text)

mortonfineart@gmail.com

http://www.mortonfineart.com

AMBER ROBLES-GORDON exhibiting at Sagrado University in Puerto Rico

13 Jul

Galería de Arte de la Universidad del Sagrado Corazón

LUGAR DE ALIENTO Y NACIMIENTO

Proyecto por nuestra Artista Visitante Amber Robles Gordon

En Sagrado, el bienestar de nuestra comunidad es lo primero. Continuamos monitoreando el desarrollo de eventos relacionados con la propagación mundial del coronavirus (COVID-19). Como medida de precaución, Sagrado está implementando la práctica del distanciamiento social. Por lo tanto, la Galería de Arte permanecerá cerrada hasta nuevo aviso.

A través de los años, hemos creado una comunidad que se une para apreciar diferentes experiencias estéticas. Queremos continuar esto sin poner en riesgo a nuestros visitantes. Por lo tanto, estamos poniendo a disposición esta experiencia en línea. Entre las nuevas ofertas compartimos el trabajo de Amber Robles Gordon, quien fue nuestra artista visitante durante el semestre de otoño y, a partir de esa experiencia, ha creado nuevas obras bajo el título “Un lugar de aliento y nacimiento”.

amber-robles

Amber Robles-Gordon, es una artista visual de medios mixtos. Conocida por recontextualizar materiales no tradicionales, sus ensamblajes, grandes esculturas, instalaciones y obras de arte públicas, para enfatizar la esencialidad de la espiritualidad y la temporalidad dentro de la vida.

Impulsada por la necesidad de construir su propio camino distintivo, innovar y desafiar las normas sociales, su obra de arte es poco convencional y no formulada. Sus creaciones son representativas de sus experiencias personales y las paradojas dentro del desequilibrio de las energías masculinas y femeninas con nuestra sociedad. En última instancia, la intención es examinar los paralelos entre cómo la humanidad percibe sus mayores recursos, hombres y mujeres versus cómo tratamos nuestras posesiones y medio ambiente.

“Tuve la suerte de ser la artista visitante de la Galería de Arte de la Universidad Sagrado Corazón, durante este año académico. Esta oportunidad me permitiría conocer el lugar donde por primera vez respiré. Luego de mis dos visitas a Puerto Rico a finales del 2019, decidí a comienzos del 2020 alquilar un apartamento en Puerto Nuevo para comenzar a producir la serie “A Place of Breath and Birth”, pautada para presentarse al final del año académico (abril de 2020) en la Galería. Debido a los terremotos persistentes, y el riesgo que representan para la comunidad Sagrado, mi exhibición se vio pospuesta, más tarde con el inicio de la pandemia COVID-19, todo a nivel mundial se alteró y tuve que regresar a Washington D.C. Las nuevas obras producidas bajo el título Un lugar de aliento y nacimiento se trasladaron a mi plataforma en línea y formarán parte de mi exhibición individual titulada Secession, a presentarse en el Katzen Art Center de la American University. (webpage https://www.amberroblesgordon.com/place-of-breath-and-birth-exhibition-puerto-rico).

Esta sería mi primera oportunidad de exhibir en el Caribe y profundizar mi relación con mi lugar de nacimiento, Puerto Rico, (la Isla del Encanto).

Por eso había titulado la exposición, Lugar de aliento y nacimiento. Comparto con ustedes unas palabras de mi declaración de artista, la que dio origen a esta serie que todavía está ardiendo y guiando mi descubrimiento por mis orígenes todos los días.

La intención de la propuesta para una exposición individual en P.R. fue empoderar a mi yo de cinco años. Para darle la fuerza para luchar por ella misma y su lenguaje. Nací en San Juan, Puerto Rico y crecí en Arlington, Virginia. Mi primer idioma era el español, pero a los cinco años llegué un día de la escuela y le dije a mi madre: “ya no hablaré en español”. A partir de entonces, sólo respondí a mi madre que habla español e inglés en inglés. Más tarde, llegué a comprender que entregué mi lengua española, una parte crítica de mi identidad cultural, para poder “adaptarme”; a una versión de mí misma que posiblemente podría coincidir con “el molde prescrito”; que otros tenían para una niña de piel morena como yo. En ese momento, mi familia y yo vivíamos en una zona de los EE. UU. donde había pocas personas que se parecían a mí y hablaran español. Aunque con el tiempo, los insultos cesaron, las micro-agresiones, preguntas insensibles, suposiciones y juicios persistieron. A lo largo de esta vida, una y otra vez, he tenido que elegir identificarme con mi color marrón / negrura sobre los otros lazos culturales que unen a otras personas de habla hispana con su cultura. Aunque, mi narrativa personal es el foco principal de estas obras de arte, continuaré contextualizando la misma dentro de los hilos políticos, socioeconómicos y ambientales que definen y a menudo se utilizan para controlar, alienar o maltratar a los puertorriqueños en general y a los afro- puertorriqueños en particular. Además, mi obra de arte trata sobre las intersecciones de la feminidad, el patriarcado, el hibridismo y el americanismo. En última instancia, espero que esta narrativa y esta obra de arte den voz a otros que caminan en tonos marrones, que respiran dentro de una forma femenina y que no se ajustan a las normas … pero son audaces y orgullosos.
Isla de Encanta

Isla Del Encanta 18 x 24 2020

Haz un click sobre las imágenes para ver una versión más grande.

Elemental_ tierra aire agua fuego

Elemental: Tierra, Aire, Agua y Fuego 18 x 24 2020

Más tarde, llegué a comprender que entregué mi lengua española, una parte crítica de mi identidad cultural, para poder “adaptarme” a una versión de mí mismo que posiblemente podría coincidir con la caja prescrita que otros tenían para una niña de piel morena como yo.

En ese momento, vivíamos en el continente de los EE. UU., Y vivíamos en un área donde había pocas personas que se parecían a mí y hablaban español. Aunque con el tiempo, los insultos cesaron; Las micro-agresiones, preguntas insensibles, suposiciones y juicios persistieron. A lo largo de esta vida, una y otra vez, he tenido que elegir identificarme con mi color marrón / negrura sobre los otros lazos culturales que unen a otras personas de habla hispana con su cultura.

Tendederos Communidad Energia Eterna

Tendedero Comunidad y Energía Eterna 18 x 24 2020

Aunque, mi narrativa personal será el foco principal de estas obras de arte; Continuaré contextualizando la obra de arte dentro de los hilos políticos, socioeconómicos y ambientales que definen y a menudo se utilizan para controlar, alienar o maltratar a los puertorriqueños en general y a los afro-puertorriqueños en particular. Además, mi obra de arte trata sobre las intersecciones de la feminidad, el patriarcado, el hibridismo y el americanismo. En última instancia, espero que esta narrativa y esta obra de arte den voz a otros que caminan en tonos marrones, que respiran dentro de una forma femenina y que no se ajustan a las normas … pero son audaces y orgullosos.

Botanica del Amor Autorreflexion y Espiritualidad

Botánica del Amor, Autoreflexión y Espiritualidad 18 x 24 2020