“A membrane is a selective barrier; it allows some things to pass through but stops others” 1, 2 & 3

Alternative photographic processes

2019

Misrepresentations of reality have always been a useful escape strategy. Recently though, they have become a way of living that allows small groups of people control over the narrative of humanity. My work looks at the degrees of variation between truth and untruth under a historical microscope and compares it to the current administration’s immigration policies. The selection of works shown here portrays the social delusion of freedom as a series of passages leading nowhere. All images were taken in Northern Manhattan (historically an immigrant neighborhood) and are printed by hand.

El mar en mi memoria

Lithograph, etching, monotype

2007–2008

Since 1959, Cuban exiles have been leaving their country for political and economic reasons, doing so almost entirely by sea: Camarioca (1960), The Mariel Boatlift (1980) and the Balseros Crisis (1994). In 1994, 30,000 Cubans left in makeshift rafts. The sea is the only way off the island toward an imagined reality in a host country. El mar en mi memoria project, explores this condition of contradiction, fragmentation and the possibilities of living and remaining in a liminal space.

when I dream, I dream in color

 soft shoots unfurl; fire spreading thin; the curve of my love’s lips;

Monoprint pressure prints

2015–2020

Combatting a long-term illness often breaks down to a question of perception: it can be hard to remember there is more to your identity than your health. The pieces in when I dream, I dream in color are my attempt to impact reality by transforming negatives into positives. I cannot will myself into wellness. Pain gives me nightmares, but I choose to mold these into visions better reflecting the existence I strive for.

We seek to explore the cross-currents where the individual artist intersects with the wider community.  We are long on anties (hierarchy, patriarchy, climate change denial, to name a few), but short on hate. Our membership is fluid and wide open. We hope our works show the relationships between artist and society, those inside and out—the introspective and the collective.