Fruta Extraño (Neon Colored Girl Diptych) depicts a vibrant fertility effigy amidst a hammock of Croton foliage under an August Miami sun. The Virgen Gruta syncretic figure depicted in its endemic habitat, is a resin cast pregnant body, with a cobalt blue spray of Linea Negra dividing the figure into two hemispheres. Beneath the kaleidoscopic surface is a jackfruit texture and exotic plant casts. Jackfruit sap is used in ancient reproductive medicine to induce labor (nature's pitocin), can be applied as a coagulant to treat wounds, or in certain doses, used to abort a fetus. Extending the gestational power of the Linea Negra, the sculpture reclaims vernacular portraiture and ancestral narratives to illuminate polychromatic Global South mythologies.

The work's title Fruta Extraño (After Neon Colored Girls) celebrates resistance media across colors and solidarity traditions. Translated directly from Spanish as "Strange Fruit", the revolutionary song was written by Jewish philosopher Abel Meeropol in reference to the mob lynchings of African Americans in Indiana 1930. The song was popularized by Billie Holiday's performance and maintained by Nina Simone's 1965 protest tribute. Honoring Carrie Mae Weems' Neon colored girls photography series, the title is a navigational GPS for LGBTQIA+ melanated survival.

Apariciones: Virgen Gruta (2020-present) photographs render fertility effigy altars of Mother Mold monuments in their fecund habitat to reclaim American material refuse as a vernacular, maternal refuge. Venerating entropic life and death cycle rituals across indigenous equatorial cultivars, the vibrant retablos are apparitions of vulnerable, yet unvanquished interior psychic landscapes overcoming assimilation and species collapse. Welcoming and warning viewers to the fabled biography of plantation labor farms and botanica pharmacies, the works excavate biological impacts on melanated, chosen families whose endangered plantology wisdom transgresses health and habitat disparities. Digging in personal and global South and equatorial archives over 2 decades, the artist renders the geopolitics of gender, displacement and land sovereignty emerging within the syncretic sites in their familiar, queer and quaint, endemic or exotic landscape.