“From the Hold of the Ship”: This is an inspiring quote from author Frank Wilderson, from his book "Red, White, and Black: Cinema and the Structure of US Antagonisms." I saw this quote in Christina Sharpe’s book titled: "In the Wake. " While reading "In the Wake," I began to understand that Sharpe's position did not want to find a way to protest the current white space but navigate through the state of being black within this white space. To me “from the hold of the ship” is so poignant in understanding how neither I nor other descendants of chattel slavery will ever cease to highlight the disparities and inequalities of black bodies because of the continuing imperialist ideologies and planted colonialism within black space.
This series of works explores both serious and irreverent ideas relating to human physicality. I’m particularly interested in the philosophical implications of our evolving scientific understanding of the human body and how we shape, and are shaped by, our environment. Concepts such as evolution, the origin of disease, aging, human behavior and sexuality all come into play, informed by my (pop) scientific, cultural and personal knowledge.
"Ensemble of Fragments" is an installation of ceramic tile pieces referencing historical quilt patterns and architectural tiling. A fragment is a surviving part, a presence, a tangible, always a trace of the past, as well as a sign of something missing, an absence, an intangible. Objects from material culture, colors, patterns, and textures illicit intangible memories from another time and place. By pressing newspaper advertising mats from the 1950s into clay slabs, I make the ephemeral advertisements and outdated means of technology a permanent record, a presence.
The boy asked his mother, “Will I die too?”
And his mother felt tight in her chest.
She built him a model of the Universe
and told him, “If you learn this, you will find that
you go on forever.”
My work investigates "Edificial Epistemologies"—the architectures of the mind, aesthetic aspects of cognition, and the construction of knowledge. My research materials span from ancient cosmologies to speculative fictions and the myriad of philosophies, theologies, and aesthetics between. In examining humanity’s projects and endeavors throughout history I begin to see the shadowy outline of a fragmented edifice crumbling towards heaven.
"No Idle hands" is about being a shepherdess in the twenty-first century. This body of work is the remanence of a year-long series of performative acts. Grass was tended to, sheep were cared for, the animals shorn and raw wool was harvested for utilization on a small farm in Zanesville, Ohio. During this time, tools had been produced by the artist in order to take advantage of the wool raised on her family farm and from surrounding areas, including some materials collected while in Maryland. With the aid of these tools, utilitarian garments were made to be worn on the farm during working hours.
"A place to be: idealization of the Puerto Rican landscape" is informed by my awareness of the local collective memory and the political-economic, exploitative or commercial aspects reflected in the landscape of my native island of Puerto Rico. My work explores the idealization and marketing of the Puerto Rican landscape contrasted with the social and environmental situations I experience daily. It is created with found materials that already contain a meaning in the current context of the Island facing the financial crisis and the ravages of Hurricane María.
From artificial intelligence to new forms of gig work, we are living in an era where technology is radically reshaping work. "The Future For Workers" is an exhibition that asks what are the ethical boundaries at stake in reshaping work? How can we build new forms of human collectivity and dignity in the digital era? How is artistic production also a form of work and how can it be directed towards collectivity? What is the future for workers? AMAZING INDUSTRIES is a research engine created by artist Brett Wallace which aims to open conversations about work in the digital age.
"Noticing"' is a direct response to being present; an exercise in noticing and notating the existential occurrences that reveal the temporality and impermanence inherent in our existence. These existential occurrences present themselves in the form of light and its movement across a surface: ever-changing in color, intensity, and form. This installation features acrylic and watercolor paintings that explore these questions of perception, time, and displacement.