Ni De Aqui Carpetas
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Delicada translates to “delicate” or “fragile,” but in Spanish, the word can also describe someone as sensitive, easily hurt, or easily offended. Its meaning shifts depending on who says it. It can be affectionate, dismissive, or critical.

 

The work is rooted in my experience of a past relationship and the painful ways I compared my femininity to the woman my ex-partner cheated on me with. I questioned whether I had been too outspoken, too difficult, or too hard, measuring myself against her softness, sweetness, and the way she seemed to embody the kind of femininity I believed he wanted. Over time, however, I began to recognize myself in her. We were not simply two women being compared against one another; we were two women who had experienced similar patterns of manipulation, emotional harm, and sexual violence. That realization shifted the work from comparison toward recognition and solidarity.

The lace and a thorned frame exist in tension without ever touching. The lace represents softness and vulnerability, while the thorned frame represents the hardness I developed as a form of protection. If they touched, the thorns would tear the lace apart, but I refuse to destroy another woman to prove my worth to a man. The white wall represents him: blank, rigid, and immovable, reflecting the experience of trying to communicate with someone who would not listen or change. The frame suggests a structure designed to contain something delicate, yet the thorns extend beyond its boundaries, refusing containment. The thorns are not a loss of softness; they are evidence of what I survived and the boundaries I learned to create.

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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