Ni De Aqui Carpetas
top of page

 

Solo Ventanas (2026) is, for me, a funeral. I constructed these walls from photo matte enhanced paper and gruta, burying the photographs beneath layers of thick white wall paste. What was once thin, fragile, and lightweight becomes heavy and almost suffocating under the weight of the material, before being painted pink. The blackness of the windows evokes the atmosphere of mourning, resembling caskets that appear to offer the possibility of seeing through them, yet reveal nothing. They become symbols of a love that once promised connection, intimacy, and a future, but was ultimately revealed to be a facade. The photographs embedded within the walls hold places and memories I love, including Atotonilco El Alto, Jalisco, where my family comes from. By burying these images, I am confronting not only the loss of photography as I once understood it, but also the emotional weight of a relationship that became entangled with how I saw myself and my own work.

​

These walls became a reflection of me. For a period of my life, I felt as though I had become a wall myself, closed off, heavy, and unable to see beyond what was immediately in front of me. The windows suggest looking inward, but their sealed, black surfaces deny access, creating a tension between wanting to see and being unable to. In this sense, the work becomes a physical representation of grief: grieving the photographer I believed I would become, the person I was within that relationship, and the belief that what I experienced was genuine. This work is not only an act of mourning, but also an act of reclaiming. By transforming photographs into walls and windows, I give these images another life and allow photography to remain within my practice. Not as something defined by what was lost, but as something I can choose to carry forward.

SOLO VENTANAS

ARTWORKS FROM THIS INSTALLATION

LENGUAS

DELICADA

LO QUE UNA VEZ FUE DELICADO SE CONVIERTE EN SÓLIDO

SOLO VENTANAS

CORAZÓN DE NOPAL

CACTI

IZQUIERDA

ME QUIERES MUCHO, NO ME QUIERES NADA

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.

bottom of page