Ni De Aqui Carpetas
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This installation is a six-page letter written front and back to my mother, entirely in Spanish so she and others from my community; can fully understand it. The work comes from a lifetime of translating, of being the bridge so others could feel comfortable, and it rejects that expectation. Instead of bending toward accessibility for dominant audiences, it centers the language and experience I come from, challenging the exclusion we face in public spaces, especially the white walls of galleries and academia. I think about the moment I was labeled a Limited English Learner and how that word, limited stays with you. Marking you as not enough. This piece pushes back against that harm. If non-Spanish speakers want to engage, they must do the work of translation themselves, reversing the roles I’ve carried since childhood. The letter is rendered in brown ink on brown lines, a deliberate gesture toward people of color, grounding the work in identity and solidarity. The frames are built from discarded wood, fitted with plexiglass, and hinged onto the wall like kitchen cabinets; when opened, they creak, echoing the sounds of home. Through language, material, and sound, Speak English! becomes both a refusal and an offering, a space where my voice, and voices like mine, exist on our own terms.

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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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