I’ve wandered the globe as a travel journalist for decades, often watching the world and its people from behind; whether in the hub of London, a backstreet in Havana, or alone from a window in a squat hotel room in Paris; whether with a 35 mm camera or an iPhone.
The series results from numerous conversations about nomadic life and its expressions, as experienced by the artists on the move. Within the paradigm of continuous “new beginnings” and “ending chapters,” we are often finding ourselves, short-term and long-term, within the “grey” zone both legislation-wise and concerning the sense of belonging, with “black and white” phases, and with bright patterns of events
I primarily use acrylic paint, latex paints, inks, papers, charcoal and alcohol inks for my paintings. My images contain many diverse layers of meaning, from the universal to the specific and personal. Many of my works are abstract.
At the beginning of my professional career, after graduating Yale University’s School of Arts MFA program, my artists soul was torn between Flemish painting of the 15th-16th century and the ideas imbedded in the 20th century DADA art movement. Specifically I was drawn to the Apocalyptic visions of artists like Van Eyck, Bruegel and Bosch and simultaneously to the anti-art of Marcel Duchamp and Francis Picabia.
Year: 2009
Digital photograph printed with mineral pigment on cotton paper.
Format: 60cm x 90cm
Location: Minas Gerais, Brazil
Those odd phases and periods, the stolen moments in-between, there is always this strange infolding of vacuity, a mental collapse of sorts. Uncanny, even mystical to say the least. . .
My current research and work involves explorations in visual art and creative writing largely concerned with investments that transform geographic spaces into personal places. This includes, for example, unfamiliar space becoming intimate or familiar; single locations endowed with multiple meanings by different people or communities; or the way place is bestowed with power and presence. . .
White reflects all color. Look at a “white” wall and concentrate. You will see browns, blues, yellows, magentas and infinite shades of reality.[…]
Art is the human species’ most incredible form in the expression of life by far. Nothing else that is human-made can match the power of art. It moves us, motivates us, frightens us, and it can make us fall in love. . .
“Between Fire and Ice” is an ongoing photographic entry around the subject of wildfires within the forefront of climate change. Fire, to me, is alive and shares a deep relationship with our universal family. After the most destructive wildfire in the history of California in 2018, I began photographing fire-dependent ecosystems across the United States. . .
The act of painting, moving my hand across the canvas, is pure freedom—and fear. I continue to draw lines, wipe parts of them away, then redraw and wipe parts away again—joining, obscuring, and overlaying these lines many times. Different linear elements clash and struggle to be together—to make sense together. . .
These theatrical scenes are inspired by my Filipino ancestry and by The Darangen: the epic poetic narrative of the Maranao people, as well as by the textile traditions of the Southern Philippines. Each of these scenes attempts to capture and articulate the narrative imagery recovered from the psyche: a scene interrupted, a glimpse of some symbolic interior—as it might be staged in a theater.[…]
Artists are in the business of making models: windows into the soul of society that put into context the human condition. It is an aim to coalesce our shared reality through the lens of a single individual, the artist, and their experience, perspective, and opinions.[…]
In this collection, I ask: What can the color blue teach us? What emotional, psychological, and physiological reaction do we have when blue is allowed to speak? Because this type of art is fluid, attention must be paid to the motion of the pieces[…]
The specific paints and color variations I use in my work also impact the work as well as the subjects I present. Colors like red and blue can sometimes be used as references to political parties, or the use of black to emphasize the feeling of emptiness, as well as it being used for more modern line work for the pop feel.[…]
As a Black woman from Mississippi, my cultural roots have imposed a powerful influence on my art process. My work is a conversation between myself and place, using art as a paradoxical intervention to address racial trauma at its core. Integrating the pineapple’s growth and journey as a guiding metaphor […]
Through her artworks, she is able to pass on messages without writing an essay. Her subject matter mostly deals with emotions and self-discovery. She connects with music, books, people, her environment, and situations around her vicinity before creating any art piece.[…]
I’m a political artist by trade. I’m interested in exploring human connections through this thing called politics. They say everything is political; that’s very true, at least for me.[…]
This project aims to portray women as they suffer a crushing defeat in society. Being the core of my focus, woman is described as a bird who is dying. I have applied Forough Farrokhzad’s last poem of her last book of poems—“the bird may die…”—to the photos to address each image more touchingly.[…]
My art naturally is informed by an education in art history and an experience in a gallery that specialized in old master prints and drawings and antiquarian books. Having been drawn initially to the art of woodcut by exposure, through books and museums, to the works of early 20th century masters, I have been a practitioner of the medium of woodcut since I was sixteen years old.[…]
Navigating the world with PTS and depression often renders me paralyzed; stuck in a place between grief and acceptance; speechless. Through art, there is a negotiation in meaning and understanding. Often unspoken.[…]
We live in a world that strives to consume the entirety of our time and attention. Work, play, social media, and the 24/7 news cycle cry out for our attention at all hours of the day and night. Our ability to seek refuge in a place where all that can be ignored, turned off, and tuned out is vital to our very self-preservation.[…]
The personas we apply to the occupations that we take for granted everyday are inseparable from the job itself because of our own indolence towards learning anything different. This series pairs the two perspectives that represent how Latinos are traditionally characterized[…]
Within this project I have conveyed this through the color, lighting, clarity, and positioning in the images. These images are meant to have meaning, as well as have thoughts projected upon them by the viewer not dependent upon words or timeframe.[…]
I draw from my experience within this toxic culture and provide a call to action for the women who don’t have a voice to feel empowered and for the men with a little too much to say to be softened. The imagery I use within my work references the everyday accessible household items that are traditionally associated with my Mexican-American household[…]
While I know all of these people deeply, I was most interested in my ability to render them anonymous to both myself and my audience. This led to an array of floating heads that, like anonymous online spaces, capture—and then distort[…]
In works like, The Hands of Time, I convey the delicate nature balance between life and death. In life, death is constantly brushing our fingertips. And yet, in death, our connection to life makes it so that we never truly die.[…]
Today’s human beings feel comfortable with their non-historical past, but during an ideological process and in deep connection with social events, the nature of these dreams changes and they are abstract.[…]
I have found ways to navigate sex—and trauma—anew. The following series explores the pain of sexual violence as well as the rediscovery of my body.[…]
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