Ni De Aqui Carpetas
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Calladita Te Ves Más Bonita 

Photography

Calladita Te Ves Más Bonita (2023) features Jessica Ontiveros-Stamps, who performs a silent yet powerful response to a common and harmful saying often directed at women: “You look prettier when you're quiet.” Jessica models with a self-written poem, expressed in eyeliner across her face, voicing her frustration with this phrase and encouraging other women to speak up.

In the first image, the words are written on her face as she remains silent, standing in front of a cactus, a powerful symbol in Mexican culture. Like the cactus, Jessica becomes a figure of resilience, the words on her skin representing thorns. In the second photograph, she begins to wipe the words from her throat, symbolically shedding those thorns, unafraid and unapologetic. By the third image, she wipes the words from her mouth while staring directly at the viewer or perhaps at the person who once silenced her reclaiming her voice. This act of defiance transforms the narrative, asserting that her beauty lies not in silence, but in her strength to speak.

Calladita Te Ves Más Bonita

by Jessica Ontiveros - Stamps

Calladita te ves más bonita...

¡No! ¡Calladita no te hace ver más bonita!

Don't let them silence you hermanita!

Eres hermosa when you speak up...

lo sientes in your throat that lump...

your words, tus sueños, tus derechos... 

you are not some forgotten echos! 

Eres guapa... when you obedient. 

¡No! It's time to be deviant! 

Quieres ser bonita

Don't whisper tus problemas amiga - ¡GRITA

If calladita te ves más bonita, 

then I will be happily ugly.

Pero mas importante...

I am unapologetic, powerful, capable, 

independent, valiente, fuerte...

If I stay pretty being quiet,

estoy más feliz fellita

Porque calladita no te ves más bonita.

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ARTWORKS FROM THIS INSTALLATION

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No Te Olvides De Tu Cultura is an immersive installation that constists of seven artworks created from family photo archives, inherited objects, and sculptures modeled after my childhood home, a space built to hold memory, to be seen, and to be recognized as a site of healing and safety. Created during a period of deep isolation in San Francisco, this work became a way to return home when I could not physically be there, grounding me in the only thing that sustained me: my family, my culture, and the act of making. The installation parallels my mother’s life and my own, her journey from being born and raised in Mexico to coming to the United States as a wife, a mother, a farmworker, and a cannery worker, and the disorientation she feels when returning to a Mexico that has changed, mirroring my own sense of displacement moving between the Central Valley, Mexico, and San Francisco. We exist in a constant in-between, where belonging is never fixed, and this work lives in that tension. At its core is the quiet, persistent act of creation as survival: my mother’s intricate doilies and my photographs, sculptures, and installations become parallel languages of endurance, care, and expression. By bringing hay and dirt from the Central Valley into the space, filling it with the scent of home and the sounds of Mexican music, I invite the body to remember what the mind tries to hold onto. This work bridges past and present, honoring the labor, sacrifice, and resilience embedded in my family’s history while confronting the generational trauma shaped by discrimination, racism, and sexism. It is an offering, a reclamation, and a declaration that our stories, our labor, and our culture are not only worthy of being preserved, but of taking up space fully, unapologetically, and with love.

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