Ni De Aqui Carpetas
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El Que Nace Pa' Tamal Del Cielo Le Caen Las Hojas

Photography

El Que Nace Pa' Tamal Del Cielo Le Caen Las Hojas (2024) depicts Sarahi Jimenez, who plays a central role as both the model and symbolic figure in this visual narrative. This photographic series reinterprets this dicho, which loosely translates to “He/she who is born to be a tamale, the leaves will fall from the sky.” Traditionally, the saying speaks to the idea of destiny, that if something is meant for you, the universe will provide the means for it to happen, just as corn husks fall to wrap the tamale. Historically, this saying has often been directed at men, suggesting they are destined for greatness, while women were expected to accept more limited roles. This work reclaims the phrase as a declaration of female strength, autonomy, and boundless potential.

Sarahi embodies a woman stepping into her power, challenging the passive narratives often associated with fate. In the first photograph, she stands alone in a dry, open field as corn husks fall gently around her. The barren landscape speaks to both cultural tradition and the solitude women often face when confined to societal expectations. The falling corn husks reference destiny taking form, yet Sarahi’s firm and grounded posture signals a refusal to wait for fate, she is ready to act.

In the following images, Sarahi becomes an active participant in shaping her future. In one, she reaches upward toward the sky, her hand outstretched to catch a corn husk; in the next, she seizes one that reads “poderosa” meaning “powerful.” This act of reaching and claiming transforms the dicho from a passive assurance of destiny into an empowered statement of choice. The corn husk marked with letters that spell out poderosa becomes a visual metaphor for reclaiming agency and redefining inherited narratives. It challenges the idea that greatness is granted only to men and affirms that Latina women, too, are born to lead, create, and thrive.

In the final photograph, Sarahi cradles the corn husks against her chest, not as a burden, but as a declaration. She embraces her destiny on her own terms. No longer waiting for life to happen to her, she affirms her identity, strength, and future through her own hands. El Que Nace Pa' Tamal Del Cielo Le Caen Las Hojas honors cultural roots while subverting patriarchal expectations. Through its symbolic imagery and Sarahi’s powerful presence, the work becomes a celebration of womanhood, self realization, and the belief that every woman is born with the right to define her own path.

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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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