These constructed entities challenge authority and social norms, and in turn begin to shape MY social norm; I use material melding and hybridization as an action to inherently upset the balance of form and the balance of understanding.
Construction materials, fake flowers, hair, unfinished objects, and bones of architecture become a vehicle for me to talk about identity displacement [feminine/latina], beauty, and materiality. By the act of creating something that was not in that same space before, the abjected material becomes beautiful. I make the decisions in this case and space becomes activated, even if the others surrounding are not aware. This is the ocular occult—the seen and unseen—an intimate moment of displacement shared by me and my unwitting participants.
I take inspiration from drag queens, chotchkies, flamingoes, wearing your heart on your sleeve, late nights on the Jersey shore, construction zones on the highway, the color pink, fake flowers and other things that society deems unimportant or untraditional. I find sincerity and power in that. Things, artwork especially, have become so aestheticized and perfected that the raw power it possesses is gone. My work is left raw and unfinished to give it life. To show it has passed through my hands and is a living thing.
I am a reactionary artist, I let the materials speak to me and can usually be found in my studio arranging and rearranging sculptures to their breaking points. I’ve been told that I am too passionate at times, but this fervor can been seen in my sculptures.
I create paradoxical totems and haphazard forms to make a crystallized milagro.
I am a shaman in a disgusting modern world.
How do I capture these fleeting notions?