Having moved to New York from Ecuador as a child, the act of tracing culture through history, language and mapping is paramount to my work. From personal anecdotes to colloquialisms, coats of arms to store signage, games to modules, my work addresses concepts of displacement by focusing on the make up of remembered environments. Originating from real and imagined spaces, the narratives of resiliency and struggle generate my visual language.
This language is illustrated by the symbolic and performative role of materials — shoe polish as labor, contact paper as structural units, rubber as currency. The voices that emerge from these encounters are represented as the interplay of English, Spanish, and slang, showcasing sounds and signs in constant exchange.
The landscapes and histories occupied by marginalized people provide the sites for my investigations. The History of Rules and Measures is an on-going project comprised of drawings and sculptures dedicated to charting migratory experiences. The project consists of visiting and incorporating the culture of indoor soccer leagues organized by Central and South American migrant communities in city gymnasiums.
The games played, and their venues, in these shifting landscapes represent a tradition of negotiating locality. Citing my father’s biography and famous Ecuadorian athletes like Alberto Spencer the playing field marks an arena of transitional icons. The rules of sport represented by gymnasium floors and public playgrounds recall the insistence on survival and constant adaptation through a reconstitution of its logos and implied body movement. This transformation of architecture through changes in the game’s iconography and rules expands the cosmology of displacement.
This new terrain turns my attention to explore the objects people identify with as a way of mapping a heritage left behind or being uncovered. My drawings and sculptures chronicle the crossing paths of displaced communities. These intersections present an account of the history of mobility (my mother’s profession as a seamstress and Alonso de Illescas’ settlement of freed slaves in Ecuador), the instruments of cumbia, hip-hop and salsa music, store signage, and the words of poets and activists, to name a few. I’m interested in how the multiplicity of cultural meaning can be drawn from these objects and their resulting iconography.
By looking at a wider lens of time and space, icons lose their static meanings and landscapes deconstruct borders, becoming malleable structures.
2012 M.F.A., Yale School of Art, New Haven, CT
2003 B.F.A., The Cooper Union, New York, NY
Open Sessions 6 , The Drawing Center, New York, NY
Specter Field, Lawndale Art Center, Houston, TX
Name It by Trying to Name It: Open Sessions 2014-15, The Drawing Center, New York, NY
Home Field Advantage, Casita Maria Center for Arts & Education, Bronx NY*
Lineas de la Mano, Sicardi Gallery, Houston, TX
NY State of Mind, Rush Arts Gallery, New York, NY
Open Sessions: Drawings in Context / Field, Queens Museum, Queens, NY
Ecuador Meets Berlin – Mittelpunkt, Emerson Gallery, Berlin, Germany
Moving, Not Moving, The McKinney Avenue Contemporary, Dallas, TX
2014 Core Exhibition, Museum of Fine Arts, Houston, Houston, TX
Spring/Break Art Show, Old School, New York, NY
SonicWorks, Diverse Works, Houston, TX
Twelve Variations, Hatch Projects at Chicago Arts Coalition, Chicago, IL
Reading List: Artists’ Selections from the MOMA Library Collection, Museum of Modern Art, New York, NY
Exile, El Rincon Social, Houston, TX
2013 Core Exhibiton, Museum of Fine Arts Houston, Houston, TX
Ulama, Ule, Olé, Carol Jazzar Gallery, Miami, FL*
La Placita, Islip Art Museum, East Islip, NY
Eyes Off the Flag, Motus Fort, Tokyo, Japan
Home is Where The Bronx Is, Longwood Arts Gallery, Bronx, NY
Yale MFA Thesis, Yale School of Art, New Haven, CT
301, La Casa Cultural at Yale University, New Haven, CT
El Museo’s Bienal: The (S) Files 2011, El Museo del Barrio, New York, NY
spillage: traces, evidence and presence, Carol Jazzar Gallery, Miami, FL
See What I Mean, El Taller Boricua, New York, NY
Rompe Puesto, Bronx River Art Center, Bronx, NY
Paper Scope, Lower East Side Printshop, New York, NY
Dialects 1.2, Bronx River Art Center, Bronx, NY
No hay de queso, nomas de papa, Bronx Blue Bedroom Project, Bronx, NY
CUMANANA, Saltworks Gallery, Atlanta, GA
Emerge 9 Exhibition, Aljira Contemporary Art Center, Newark, NJ
How Soon Is Now?, Bronx Museum of the Arts, Bronx, NY
Everyday is Like Sunday, Longwood Arts Gallery, Bronx, NY
2014 Eliza Long Prize, Museum of Fine Arts, Houston
2013 Eliza Long Prize, Museum of Fine Arts, Houston
2014 2012 New American Paintings MFA Annual 99
2011 BRIO Award, Bronx Council on the Arts
2011 Gloucester Landscape Painting Prize, Yale School of Art
2008 PRINT magazine Regional Design Annual 2008
2016 Kala Art Institute Fellowship Program, Berkeley, CA
2015-16 Lower Manhattan Cultural Council’s Workspace Program, New York, NY
2015 NEA “Our Town” Artist in Residence at The Working Classroom, Albuquerque, NM
2014 Open Sessions at The Drawing Center, New York, NY
2013-14 Project Row Houses Artist in Residence, Houston, TX
2013 Skowhegan School of Painting and Sculpture, Skowhegan, ME
2012-14 Core Program, Museum of Fine Arts, Houston
2010 Keyholder Residency Program, Lower East Side Printshop, New York, NY
2007 Artist in the Market Place, Bronx Museum of the Arts, Emerge Program, Aljira Contemporary Art Center, Newark, NJ
2015 Andrea White, “Give them a sign”, Houston Chronicle (September 13) http://www.houstonchronicle.com/local/gray-matters/article/Signs-as-art- 5751751.php?cmpid=email-premium&t=05736c5f1f7ee7ebf2#/0
2013 Anne Tscida, “Outside the Lines”, Miami Herald (May 24) http://www.miamiherald.com/2013/05/24/3412557/outside-the-lines.html
2012 Lori Salmon, Yale MFA Painting and Printmaking, (2012): 137.
2011 Trinidad Fombella, “The Young and the Restless”, El Museo’s Bienal The (S) Files 2011: The Street Files (2011): 15, 34, 156-157.
2011 Adriana Herrera, “Arte y contexto rastros y evidencias sociales”,
El Nuevo Herald (April 24).
2008 Ra kaa Shabaka, The International Review of African- American Art, Vol. 23, No. 1: 59.