Valle Sagrada (Entre la Pachamama y la Ciguapa)

Intimate waste, Environmental ephemera cast in Domestic construction materials including: neon floor resin, wall insulation foam, interior latex house paint, mica powder, phosphorescent pigment, plastic funerary plants, tropical foliage, discarded plastic bags, wood beads, cockroach, anise, cumin, cinnamon, coriander, black beans, egg shells, coffee slurry, gardenia perfume bottle, Peruvian Straight hair weave, bamboo fiber, braided rope Fur & Quipus from llama & alpaca

A neon aura, coffee and soil cast figure nests among a coconut palm nursery as a syncretic pieta between an exotic mother and her endemic habitat. The natural, industrial and man made materials composed along with the title- translate synthetic or syncretic culture between gendered geographies and liberation theologies of Indigenous American, Caribbean and Andean cultures.
The colors and texture of the pregnant torso reference fecund liberation mythologies ranging from Andean cultures (Pachamama) to Caribbean syncretic traditions (Ciguapa) that warn and welcome viewers into an embodied sanctuary from conflicting man made and mother nature disasters.

Mother Mold monuments document conflicting climate and reproductive health crisis in the Americas by casting fertile LGBTQIA+ BIPOC families in a collaborative Mama Spa Botanica workshop to celebrate ancient millenary traditions ranging from mummification, matriarchal infrastructure and critical resource mapping. Composed of intimate waste, environmental ephemera and domestic construction materials, the Mother Mold fertility effigies reclaim material refuse as maternal refuge to transgress structural violence in American mythology. Restoring divinity and dignity to vulnerable diasporas in the US since 2007, the project exhumes the complicated historical, political and geographic context wherein conquering the tropical landscape and procreative bodies stem from a colonial Eurocentric legacy.

Recalling "Virgen Gruta" retablos found in tropical terrains, the work considers the culture of procreation in the Americas- a complicated historical, political, and geographic context wherein conquering the wild landscape, reproductive bodies, and indigenous societies stem from the "Spice Trade". Inhabiting its endemic environment, the fertility votive is made by upcycling consumer and climate waste, then cast into a slurry of domestic construction materials within a Mother Mold mummy cast of LGBTQIA+ BIPOC families. The works reconstitute internalized stigmas made in and of our bodies, our landscape and our movement.