Untitled (My great-grandmother's bikini), 2014
Cotton and unwoven quilt, various dimensions; I took apart my great-grandmother's quilt to create this two-piece which is tailored to my body.
Untitled No. 3, 2011
Sheet metal Various dimensions; My grandmother was a Spanish dancer during the late 1940s. After a performance in the Dominican Republic, she was pursued by Trujillo. She was airlifted out of the country and brought back to New York. The shoe is based on one of her dancing shoes. The shoe itself is rather accurate proportionally; I created a pattern of the original shoe and enlarged it, and then transferred it to the aluminum sheet metal.
Shoelace, thread and acrylic polyurethane Various dimensions; I manipulated the unstructured material of a shoe lace to create something I don’t really think about much, but use daily for support. I sewed the shoelaces together to create the sculpture’s skin first, and then molded the shoe and used acrylic polyurethane to stiffen it and create a recognizable ironic object.
Untitled (Cut), 2014
Rubber and acrylic
Seventy Years, 2011
Acrylic on foam board 24.25 in tall; This was my first use of foam in sculpture. My original installation had these feet as the legs of a baby grand piano. The documentation was successful but after my computer’s entire hard drive got wiped out four months ago, I sadly lost the original photograph. The feet aren’t meant to be violent as much as silent masses that stand in front of you obstructively.
Untitled (Flower Queen), 2014
No Such Thing as Purple, 2013
Acrylic, acrylic matte medium, and water in mason jars Various dimensions; Perplexed by why purple is on the color wheel (it could be considered a red-blue or a blue-red, a color simply based on its contrast with the colors around it), I decided to investigate the ranges of what a viewer may consider purple to be—from those closer to red, to those towards blue. I mixed my own purple shades and put them in mason jars, to emphasize the idea that they were self-mixed, self-created colors. I arranged the jars in a way that I thought made sense chromatically. The process was sporadic—I mixed blue-purples and intermittently mixed red-purples, and even came upon purples that edged toward what appeared to be green (though green is also a color that I question, as it is a secondary color). There is a strange section of greenish purples in the arrangement of jars. This was the heart of the piece. Josef Albers shows us the Equilateral Triangle on page 143 in his book Interaction of Color. What strikes me most about this triangle is the right edge: the triangle moves from red, to mauve, to purple, to green, to blue. The green was unsettling to me and I wanted to relay this to the viewer.
Red in Form, 2013
Enamel on glass 12 in x 16 in; My idea behind Red in Form was my desire to explore what it means to deconstruct a color. I began with a deep red on the bottommost sheet of glass, and then as I stacked the glass, I moved the deep red into four sections: in one section I added white to the base color, in another I added blue-green, in the third I added red until it was what I believe to be a pure shade of red, and in the fourth section I moved the red all the way to yellow. It was a way for me to find out color relations. When you look at the piece from the side, you see a form. This is what I believe to be what red looks like as a form.