Ni De Aqui Carpetas
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Cacti is a work that allows me to imagine the version of myself I wish I had been after heartbreak, the version that would have simply turned around, raised a middle finger, and walked away. The cacti are intentionally fake, creating an illusion of something alive and rooted when, in fact, much of what we see is constructed. The only real elements are the cactus thorns and the dirt, grounding the work in something physical and true. This tension between what is real and what is fabricated reflects the emotional illusions I carried within the relationship and the fantasy of how I wish I could have responded to betrayal. The gesture of the cacti becomes humorous, confrontational, and unapologetic. A small act of rebellion that I can now give myself through the work.

At the same time, the cacti become a metaphor for survival. Cacti do not need constant watering or care to survive; they are capable of enduring harsh conditions and sustaining themselves with very little. I see myself in that resilience. After heartbreak, I learned how to stand on my own, even when I felt like I had been stripped of something I once depended on. The fabricated cacti represent the illusion, while the real thorns and dirt represent what is true: pain, resilience, and the ability to survive. Cacti becomes both fantasy and self-portrait, a playful way of imagining what I wish I had said or done, while acknowledging that I, like the cactus, am still here, rooted, and capable of surviving on my own.

ARTWORKS FROM THIS INSTALLATION

Me Quieres Mucho, No Me Quieres Nada (2026) is an installation I constructed during my month-long residency at Casa Lü in Mexico City. The work is an abstracted self-portrait built from the emotional residue of the last several years, my experiences within a toxic relationship, betrayal, encounters with men and women in positions of authority, questions of cultural identity and belonging, and the complicated feeling of being loved by people who no longer seemed to like, understand, or accept me.

 

I was thinking about what it means to be “liked, but not liked”: to once feel wanted by the people I loved and then experience rejection, comparison, criticism, or dismissal from those same people. The installation became a space where I could finally confront what I had been too busy to grieve while completing my MFA and navigating everything happening around me. Influenced by female rage songs and women speaking openly about their experiences, I approached the installation much like I approach filmmaking. Coming from a cinema background, I think of a body of work as a film: there are characters, color palettes, compositions, objects, symbols, and a soundtrack. Music by artists such as Japanese Breakfast, Te Vi En Un Planetario, Margaritas Podridas, and Faouzia helped shape the emotional atmosphere of the work. The installation is accompanied by a five-minute poem that must be listened to while moving through the space, making the viewer not simply an observer, but part of the narrative and a forced listener to this specific story. 

Every element carries a piece of the story. The cacti, thorns, tongues, lace, windows, and architectural forms become characters within this emotional landscape, while the pink that consumes the installation operates as both a visual language and an act of defiance. Pink is deeply connected to the visual landscape of Mexico, its architecture, cars, clothing, and everyday environments, but it has also become personal to me. After being told during my MFA that I should NOT make a pink show and, more broadly, that I should tone myself down, be softer, or make myself more palatable, embracing excess became its own form of rebellion. Here, pink is unapologetic. It IS too much because I was told I was too much. The work is filled with small “easter eggs”...the cactus shaped like a raised middle finger, a tongue referencing my former partner, and other details that may reveal themselves differently to each viewer.

 

Returning to Mexico allowed me to reconnect with materials, soil, thorns, architecture, color, and structures that feel deeply connected to my history and identity. Working with these materials became unexpectedly therapeutic. I could experiment, make mistakes, be excessive, be angry, be tender, and, most importantly, make whatever I wanted, which is a very normal part of expressing oneself in a healthy and artistic way. Me Quieres Mucho, No Me Quieres Nada is stubborn, vulnerable, angry, playful, and deeply personal. It is a space where I allow myself to remember what happened, grieve what I lost, and confront what still hurts. I heal through making art; I take what I cannot always say and give it a physical form. Although this installation comes from my own experiences, I hope that its emotional honesty creates a space for others to recognize something of themselves. To feel heard, to feel seen, to confront their own pain, and perhaps to begin healing.

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