Cultivated Roses (a collaboration)
Body of work in collaboration with imported roses  collected from local flower shops. 

2020 -ongoing

Rose petal weaving with silk on cotton
9 x 10 in

The Rose Marks it’s Path
Photo essay

These photos attempt at depicting the experience of working with roses as a collaborator. As an artist, I approach the material acknowledging it’s personhood. This work engages with pan-american Indigenous ideas of relationality and reciprocity. 

A prited version of this photo essay with accompanying texts is currently in production thanks to the support of Platform Centre for photographic and Digital arts. 

Giving and Taking with Dump Roses
Ongoing collaborative project 

This project consist of naturally dyeing sessions where I transform garments in disuse using dump roses.

I gave a talk about this body of work as part of the Manitoba Craft Council’s Fall Talks.
Watch it here: 
Taking and Giving Back: Natural Dyeing on Stolen Land

MTCN is The Only Poem I Write 
Installation: archival inkjet print, textile, sound

MTCN is the only love poem that I write  was sparked by recurring visits in Winnipeg to money transfer agents, where the diaspora meets to send money back home. On the counters of these service locations, economic oppression and agency collide. The audio piece and textile sculpture seek to explore this dynamic and riff off the elements of a monetary transaction, collaging them and reinterpreting them in search of softness.
The audio is a recording of the artist reciting monetary transfer control numbers (MTCN) like an incantation. This conjuration is interrupted by text written by the artist unspooling the stories contained in each transaction. The fabric piece that accompanies the sound seeks to reflect the feelings found in the stories.  

Exhibited as part of the Mujer Artista group exhibition Puesto / Place at aceartinc
January 10 - 25, 2020
Exhibition photos by Leif Norman

Photography assistance by MacKenzie Smith
Sound mastering by Joel Mierau

Dry Puddle, Soft Grid
Installation -soft sculptures
variable dimensions

This work was the result of multiple material experiments, as part of the Cartae Open School program. The main goal was to play with opossing properties, such as rigid-and-soft, dry-and-wet using materials related to textile production.
I chose to thread naturally dyed wool through an MDF pegboard creating a soft grid. The wool is dyed using cochineal that produced a number of pinks. The second pieces is a wet felted wool rug in the shape of a puddle. Both allude to the body and how it moves in space, the objects are present as barriers, or places where one can get stucked. 

Exhibited as part of Partial View a group show by graduates of Cartae Open School Exhibition
June 2019, aceartinc

Exhibition photos by Karen Asher

Banner for a Party
Archival Inkjet print, 40 in x 26 in

(With a split heart)
Dry cake. Dedos de chizito
Loud talking
(Dancing in front of abuelita)
At the party
We laughed at all the frustrating

 “Que Huevada” is a slang word used acros Latin America, that to me describes useless things or situations that are laughably frustrating.  The style of the typeface I used references hand painted signs in Peru that fill the visual landscape of urban centres. This style is known as ‘chicha’.
This work reflects on regionality and specificity and how things get lost in translation. More so, how certain things are not meant to be for everyone and the power of exclusion. I thought about parties where not everyone is invited and how funny it would be to throw one in celebration of barriers that impede clear understanding.  

Exhibited at Window Gallery 41: January 1st to February 13th, 2019
This installation was curated by Mariana Muñoz Gomez, on behalf of Collecting, Citing, Curating (CCC), with funding from the University of Manitoba Institute for the Humanities.

Photographed by Sean McLachlan