Artist Statement

"I killed a bee, and I realized my children were watching," a limerick I read in my 6th grade English class that has stuck with me. This poem and other childhood experiences have profoundly influenced my lens. I've always been the one to pick up stunned dragonflies or save spiders from being squished by my lovers. Polarized reactions of apprehension or fascination met my actions. While I do not recall a whole lot from my childhood, I do remember some things in great detail- like a classmate telling me she could no longer be my friend since I did not believe in god. Or a boy I liked telling me to stop drawing skulls. These experiences of rejection and the dichotomy of fear and fascination have shaped my understanding of the world and my art. I never changed my views; I found solace in my separation. 

In my artwork, I often use symbols that are nostalgic for me. These symbols, such as the wasp, the snake, and the spider, are ill-reputed creatures. I identify with them in many ways and use them to convey my sense of alienation. This approach is similar to that of Andrea Joyce Hymer, who uses her pieces to reflect marginalization. My mother is a consumer of Frida's works, so I followed her and other female surrealists like Lenora Carrington. Both Latin women have roots in different cultures, similar to my relationship with my Mexican roots. I am an entirely American woman, but I am no lady—not in a traditional sense. 

Nurtured early on by Barbara Kingsolver and Kathleen Hannah, feminism is an ideal I came to criticize to the caliber Valerie Solonis criticized art. I refuse to let either side characterize my values. It should be criticized thoroughly and taken with a grain of salt if it is an idea. However, my pieces emphasize the anguish of a solitary woman scorned by something more extensive, whether it is the aftershock of capitalism wringing every last defiant thought from her with minimum wages. Or it is her state of mind running awry from limerance, self-effacing, or her ego- all milestones we go through at our own pace. As a result, my work does not comment directly on feminism. I explore the other complex nuances that affect me directly since that is where I have an earnest experience. 

Either way, my work depicts the harsh truth that I am not special—and my pieces are all relatable. They continue a conversation that was started or added to by some of the names I mentioned. I find new names every day to add to the visual discourse I have become a part of. This discourse is not stagnant, it is constantly evolving, just like our lives. So I ask my viewer- What do you wish to do with your time?