gratuitous displays of (will)power(2018)
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
gratuitous displays of (will)power was an 84-hour long performance in which I set myself the challenge of covering the whole of the gallery space with an ornamental pattern by hand. during the course of seven days, I imposed upon myself a 12 hour work period, beginning at 8 am and ending at 8 pm to emulate a paid workday. The pattern was elaborate enough that it took skill to produce, but not so that it could not be done in a mindless, repetitive, chain production like manner. This piece spoke of the value of work, and what the body goes through in it.
when the painting was done and the room was covered, the public was invited to paint over the walls to make them gray again.
50 paintings
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
installation: 50 hand-pigmented pieces of raw canvas covering a space, making one big multilayered composition. The core idea was making as many paintings in as little time as possible to explore the value of manual labor and to rebuke the idea of painting as a means of representation of reality, reducing it to its main values: Color and composition.
SIE7E (2017)
SIE7E at If i got paid for all my emotional labor in Proceso Abierto, Puebla.
SIE7E is a collaboration piece alongside Frida Cano Romo that was meant to fit two adults inside for seven minutes, as a wink to the teenage game seven minutes in heaven. We wanted to create a space that evoked the first child-engineered forts, where now adults could feel compelled to be naughty, sincere or just quiet for seven minutes at a time.
The second time SIE7E comes to be is as part of the collective exhibition If i got paid for all my emotional labor in Proceso Abierto, Puebla. The show wanted to initiate a dialogue amongst female grad and undergrad artist of the scene in Puebla that were working on the matter of affections, whatever their definition of this might be. My long term art partner, co-founder of the project Sabrosas Asociadas Frida Cano and i had previously devised this installation as a way to merge two projects. SIE/E was a tent big enough to fit two adults
The second time SIE7E comes to be is as part of the collective exhibition If i got paid for all my emotional labor in Proceso Abierto, Puebla. The show wanted to initiate a dialogue amongst female grad and undergrad artist of the scene in Puebla that were working on the matter of affections, whatever their definition of this might be. My long term art partner, co-founder of the project Sabrosas Asociadas Frida Cano and i had previously devised this installation as a way to merge two projects. SIE/E was a tent big enough to fit two adults
The second time SIE7E comes to be is as part of the collective exhibition If i got paid for all my emotional labor in Proceso Abierto, Puebla. The show wanted to initiate a dialogue amongst female grad and undergrad artist of the scene in Puebla that were working on the matter of affections, whatever their definition of this might be. My long term art partner, co-founder of the project Sabrosas Asociadas Frida Cano and i had previously devised this installation as a way to merge two projects. SIE/E was a tent big enough to fit two adults
The second time SIE7E comes to be is as part of the collective exhibition If i got paid for all my emotional labor in Proceso Abierto, Puebla. The show wanted to initiate a dialogue amongst female grad and undergrad artist of the scene in Puebla that were working on the matter of affections, whatever their definition of this might be. My long term art partner, co-founder of the project Sabrosas Asociadas Frida Cano and i had previously devised this installation as a way to merge two projects. SIE/E was a tent big enough to fit two adults
digital works
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Made for Perfect Eggs (2019), solo show at La Nana where i displayed mostly digital collage that pondered about eating habits and body image.