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The Immigration Series (1992-2000):
Earlier works, such as Upon the Arrival of My Family/A la llegada de mi familia, Establishing Identity/Estableciendo identidad, and Cultural Dialogue, were influenced by my own cultural background - my parents and relatives being Cuban émigrés - and addressed issues of identity, marginalization, assimilation, stereotypes, language, culture, and history. Boats appeared frequently as literal forms; many exiles, including my father, fled Cuba by sea. In addition boats acted as symbolic bridges between cultural worlds or from land to land. Roots illustrated the physical or psychological ties to culture, history or a country, all components of an individual’s identity. Cuttings from an original plant were submerged in water, becoming independent plants with their own root system - the exposure of the new roots in clear glasses referenced the assimilation process’ expectation of a visible integration into the new culture. The utilization of metal paralleled the cold and sterile supposition for immigrants to assimilate and leave behind all prior cultures, languages and customs; while advertising billboards portrayed the media’s role in encouraging the process through their selection of images portraying what an “American” should look like (or not, through lack of representation). Bilingual text or audio, recounted Cubans’ (including my family) stories and experiences - how and why they left Cuba, and what it was like to leave their homeland and begin again in a new country.. Cuban-American recordings narrated thoughts on being of Cuban descent, yet raised in the U.S., how this shaped identity, and whether they felt a part of or marginal to both cultures.
Moving away from Cuban specific identity, Cultural Migrations used flora to conceptually trace the cultural lineages and migrations of diverse individuals - for example from Colombia, England, France, Holland, Italy, or Jamaica. Plants from specific countries and/or U.S. states were researched and patterns created by combining elements from those representative plants. Each pattern is a unique, cultural portrait of the individual represented.
Upon the Arrival of My Family/A la llegada de mi familia I and II were funded by an Art Matters Artist's Grant, New York.
Establishing Identity/Estableciendo identidad was funded by an Alternate Roots Alternate Visions Grant, Georgia.
Cultural Dialogue was funded by a Kentucky Foundation for Women Artist's Grant, and a Kentucky Arts Council Professional Assistance Award.
Cultural Migrations was funded by a Morehead State University Creative Productions Summer Fellowship.
Earlier works, such as Upon the Arrival of My Family/A la llegada de mi familia, Establishing Identity/Estableciendo identidad, and Cultural Dialogue, were influenced by my own cultural background - my parents and relatives being Cuban émigrés - and addressed issues of identity, marginalization, assimilation, stereotypes, language, culture, and history. Boats appeared frequently as literal forms; many exiles, including my father, fled Cuba by sea. In addition boats acted as symbolic bridges between cultural worlds or from land to land. Roots illustrated the physical or psychological ties to culture, history or a country, all components of an individual’s identity. Cuttings from an original plant were submerged in water, becoming independent plants with their own root system - the exposure of the new roots in clear glasses referenced the assimilation process’ expectation of a visible integration into the new culture. The utilization of metal paralleled the cold and sterile supposition for immigrants to assimilate and leave behind all prior cultures, languages and customs; while advertising billboards portrayed the media’s role in encouraging the process through their selection of images portraying what an “American” should look like (or not, through lack of representation). Bilingual text or audio, recounted Cubans’ (including my family) stories and experiences - how and why they left Cuba, and what it was like to leave their homeland and begin again in a new country.. Cuban-American recordings narrated thoughts on being of Cuban descent, yet raised in the U.S., how this shaped identity, and whether they felt a part of or marginal to both cultures.
Moving away from Cuban specific identity, Cultural Migrations used flora to conceptually trace the cultural lineages and migrations of diverse individuals - for example from Colombia, England, France, Holland, Italy, or Jamaica. Plants from specific countries and/or U.S. states were researched and patterns created by combining elements from those representative plants. Each pattern is a unique, cultural portrait of the individual represented.
Upon the Arrival of My Family/A la llegada de mi familia I and II were funded by an Art Matters Artist's Grant, New York.
Establishing Identity/Estableciendo identidad was funded by an Alternate Roots Alternate Visions Grant, Georgia.
Cultural Dialogue was funded by a Kentucky Foundation for Women Artist's Grant, and a Kentucky Arts Council Professional Assistance Award.
Cultural Migrations was funded by a Morehead State University Creative Productions Summer Fellowship.