Lands and Lines, 2024
Archival digital inkjet print on Fine Art cotton matte, mylar.
13 x 58 inches
North by Northwest, 2024
Archival digital inkjet print on Fine Art cotton matte, mylar.
13 x 60 inches
Lands and Lines, 2024. Detail.
North by Northwest, 2024. Detail.
North by Northwest, 2024. Detail.
Installation View. MFA Advancement exhibition. Flor y Canto Gallery, San Diego State University, March 12-19, 2024.
Mile 69, 2022
Archival digital inkjet print on cotton satin baryta.
13 x 52 inches (side A)
Mile 69, 2022
Archival digital inkjet digital print on satin baryta
13 x 52 inches (side B)
Mile 69, 2022 Installation view.
Selected artist in 2nd National Concurso of Photography Javier Ramírez Limón, Sept 1, 2023-March 1, 2024. Museum of Art of Sonora, Sonoran Institute of Culture, Hermosillo, Mexico.
Mile 69, 2022 Installation view.
Selected artist in 2nd National Concurso of Photography Javier Ramírez Limón, Sept 1, 2023-March 1, 2024. Museum of Art of Sonora, Sonoran Institute of Culture, Hermosillo, Mexico.
Sunset Point, 2023
Archival inkjet print on satin baryta paper
13 x 36 inches
Mile 253, 2023
Archival inkjet print on satin baryta paper
13 x 33.5 inches
Installation View. Sunset Point-Mile 253 Diptych.
Archival inkjet print on satin baryta paper
13 x 69.5 inches
Incisionar y Confluir: Visiones del collage bajacaliforniano.
Instituto Municipal de Tijuana. January 26-March 10, 2024.
Installation View. Sunset Point-Mile 253 Diptych.
Archival inkjet print on satin baryta paper
13 x 69.5 inches
Incisionar y Confluir: Visiones del collage bajacaliforniano.
Instituto Municipal de Tijuana. January 26-March 10, 2024.
Monoculture, 2022
Archival digital inkjet print on Arista photo matte paper
11 x 34 inches
Future Ghosts is a series of constructed photographs that work to make visible the capitalist and colonial logics that produce landscape. The photographs were taken during a road trip after my father's funeral from my hometown in Minnesota to my home in Tijuana, Baja California. This experience back in the landscapes where my great-grandparents homesteaded and put down roots activated a lot of conflicted feelings for me about belonging and not belonging in the Midwest.
The aesthetic forms of landscape painting and photography can erase the processes and transformations that produced this space, in this form, for our pleasure. As landscape studies of the borderlands, my own photography potentially participates in that logic of erasure. My artistic process operates as a way of decolonizing the landscape image to create new habits of seeing. I use the technique of photo weaving to explore the colonial mechanisms of surveying, mapping, and archiving to make them visible in my landscape compositions. My artistic practice raises the question: can we use the same forms of knowledge that make us forget violence--the map, the photograph, the archive, and the bodily experience of a place--to confront and undo it?