Ni De Aqui Carpetas
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Without Me (2025)

Photographic series of 30

2025

Digital Photography

4 x 6 inches (each)

 

Additional information: Original photographs were scanned and digitally altered.

Without Me (2025) is a series evolved from the creation of Mi Familia (2025), yet this time, my own absence takes center stage. In these photographs, I am not physically present; instead, my silhouette is digitally covered in hot pink a color deeply tied to my identity and previous works. The piece reflects a somber reflection on the question of what would happen if I didn’t exist. Would my family be whole again? Would they be happier without me? These questions echo in my mind as I wrestle with the emotional weight of feeling invisible and unimportant, as though my absence might somehow bring peace and joy to those around me. What once held cherished memories of my childhood now feels like a narrative of a version of my family that is better off without me.

The sadness embedded in this work comes from the unsettling realization that, in my absence, the people in these photographs appear happier. The smiles of my family members hint at a life where my existence no longer complicates or burdens them. This juxtaposition of their joy without me versus my own sense of worthlessness creates the feeling that no one would have missed me if I were gone. The number 30 in the piece represents the 30 photographs on display, each symbolizing my 30th year, the age when I hit my emotional and mental low, grappling with the loss of a relationship, my career, friendships, and the bond with my sisters. The weight of these losses made me question my existence, my worth, and whether I mattered at all.

The grief in this work stems from the emotional turmoil I experienced during that period, when I felt disconnected from everything I once knew. As I look at these childhood photographs now, they no longer evoke joy. Instead, they painfully remind me of the identity I lost the person I thought I was, the family I believed I had, and the life I imagined. In these photographs, I feel erased, and that sense of erasure is symbolized by the hot pink digital covering of my silhouette. It's as though I wished to disappear, just as I do in the images.     

To cope, I wrote a letter to myself on pink-lined paper. The act of writing became a form of catharsis, acknowledging the void I felt within myself. In the letter, I address my pain and fears, but also encourage myself to move forward with life, even if nobody else cares about me. I must care for myself now, even if I feel forgotten or overlooked. 

 

Through this artwork, I reflect on the fragile nature of self-worth, identity, and the haunting fear of being invisible hoping that confronting these emotions will bring healing and resilience. This work is not only a personal exploration but also an invitation for others to reflect on their own struggles with identity, family, and the complexities of existence.

 

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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