Dia de los Muertos Estilo Americano (fan fiction), archival inkjet print, 13 x 19 inches, 2022
Sin Fronteras/Stateless Part 4 Scene 5 (still from a nonexistent film), digital print on outdoor mesh, 98.5 x 177.3 inches, 2022
Memory Screen, single channel video with sound, 58 min. 30 sec., 2021
Weird Revolution Redux (Memento Mori), Cyanotypes, edition of 3, plus 1 AP, 25 x 37 inches framed, 2021
The Slow Cancellation of the Future (firstman/clansman) series, 20 Polaroid photographs mounted on archival museum board, 12 x 72 inches framed, 2021
Foreign Policy II (Operation Wetback), Cyanotype on archival paper, 37 x 25 inches framed, 2021
Foreign Policy (Burn, Hollywood, Burn remix), Cyanotypes, edition of 3, plus 1 AP, 37 x 25 inches framed, 2021
Ricardo Flores Magon in St. Louis (from the Tierra y Libertad project with Melissa Bauer), Inscribed bronze plaque, 8 x 15 inches, 2021
Temporal Pincer (Brown Power/Tenet remix), clamp, books from personal collection and Ojalá Latinx Community Library (with Miriam Ruiz), Dimensions variable.2021
Wave of Mutilation (Thanos Infinity Gauntlet remix), 6 archival inkjet prints mounted on foam board 37 x 25 inches framed, 2020
WhiteNoise/BlindContour series (Skull, Books, Headphones, Fruit), archival ink on graph journal paper, 12 x 8.5 inches, 2020
WhiteNoise/BlindContour series (Skull, Books, Headphones), archival ink on graph journal paper, 12 x 8.5 inches, 2020
WhiteNoise/BlindContour (Skull, Books, Headphones), archival ink on graph journal paper, 12 x 8.5 inches, 2020
Shelter in Place (El Norte remix), 15 framed Polaroid photographs, 18 x 24 inches, 2020
Wandering Star (The Texas Chainsaw Massacre remix), 20 framed Polaroid photographs, 24 x 30 inches, 2019
Sin Fronteras/Stateless (still from a nonexistent film), digitally printed vinyl banner, 60 x 108 inches, 2019
Masses of endangered communities flee their homes in search of safety and hope. They leave behind family and loved ones to escape war, persecution, economic hardship, hunger, and worsening climate and environmental conditions. Everything is left behind for a chance at survival. Traversing brutal conditions and terrain over thousands of miles, they are met with open arms. Their gracious hosts welcome them as their own. They are fed. Housed. And encouraged to maintain their own traditions and tongues as they settle into their new lives. The end of the treacherous journey is an unbelievable relief. Their needs and expectations have exceeded their wildest dreams. It is unimaginable. Unthinkable. It is disorienting. Is this really an oasis and not a mirage? And are we only capable of accepting truth through the concept of fiction?
The cloud image was sourced from an online stock image archive and digitally manipulated. The subtitles are the from the 2016 Mexican science fiction film Region Salvage (The Untamed).
Revisionist History in Red (Marlon Brando as Emiliano Zapata), graphite, charcoal, toner, pigment from Takis Fuego tortilla chips, 9 x 12 inches, 2019. In private collection.
Revisionist History in Yellow (Marlon Brando as Emiliano Zapata), graphite, charcoal, toner, pigment from Doritos Nacho Cheese tortilla chips, 9 x 12 inches, 2019
Mentor/Tormentor (dragged across the beach), archival inkjet print, 36 x 24 inches, 2019
Mentor/Tormentor (North Sea), archival inkjet print, 36 x 24 inches, 2019
Hell is Chrome (Secret Wars redux), found footage looped single channel video with sound, 10 min. 44 sec., 2019
Ojála (Tizoc), single channel video with sound. 32 min., 2019. Made in collaboration with Miriam Ruiz.
A brief scene from the 1957 film Tizoc is extended over 30 minutes. The sonic and visual elements are manipulated to resemble a psychedelic experience. The "acid trip" is achieved by video editing software and not the consumption of psychedelic drugs. Dechronicization, depersonalization, and dynamization are reached through color saturation, electronic phasing, reverb, looping, multi-image layering, and slow motion. As the scene fades to black and we arrive at the end of the trip, we encounter the black mirror reflection of a monitor revealing artist and apparatus capturing this moment.
La nación en llamas, digital print on nylon fabric, 2019. Made in collaboration with Miriam Ruiz.
La nación en llamas represents a nation in crisis, a nation witnessing the destruction of its oft-touted foundational beliefs, a fractured and factious nation, “a nation in flames”.
Come On Earth (Quetzalcoatl), single channel video and sound. Contains found footage of Canek vs Mil Mascaras wrestling match, a Lowrider car show in Denver, and samples an audio portion of The Moon by The Microphones, 2 min. 45 sec.,2018
Southern Studies (folklore), single channel video and sound. Mississippi highways 328 and 315, 1 min. 45 sec., 2018
![Anheló (La Jetée), 2 channel video and sound, 7 min., 17 sec., 2018. Made in collaboration with Miriam Ruiz.Anheló, investigates loss, longing, and memory as experienced by immigrants, their descendents, and Latinx diaspora in the United States. In the video, photographs, field recorded sounds, Google Map images, voice-over narration [in form of text] from the Chris Marker film La Jetée and dancers evoke the liminal space that immigrants inhabit---displaced from their native country but not fully belonging to their adoptive homeland---a space between borders.](https://images.squarespace-cdn.com/content/v1/54712507e4b04536cee04d3f/1585622057923-7GZN2PL77Z4QN6OYVEF2/anhelo.png)
Anheló (La Jetée), 2 channel video and sound, 7 min., 17 sec., 2018. Made in collaboration with Miriam Ruiz.
Anheló, investigates loss, longing, and memory as experienced by immigrants, their descendents, and Latinx diaspora in the United States. In the video, photographs, field recorded sounds, Google Map images, voice-over narration [in form of text] from the Chris Marker film La Jetée and dancers evoke the liminal space that immigrants inhabit---displaced from their native country but not fully belonging to their adoptive homeland---a space between borders.
La Raza Cosmica (Anheló) series, archival inkjet print, 13 x 19 inches, 2018. Made in collaboration with Miriam Ruiz.
Prolong the Glow (Nabokov), single channel video with sound, found footage and clip from the film Y Tu Mamá También directed by Alfonso Cuarón. 2 min. 32 sec. 2018
Los Novios (for M), work boots, cinder blocks, hot glue, spray paint, 2018
Housekeepers’ Requiem, glass spray bottles, mirror, shelf, Windex, tequila, fake blood, 2018
Pick Up Heaven (for M), shovels, paint, 2017
Mala Noche (Houston Astrodome 1995) series, inkjet dye on archival matte paper, dimensions variable, 2017
Head Like a Hole (New Order/Megadeth), inkjet dye on archival paper, spray paint, framed, 2017
Exiles (Atomic Age nostalgia), single channel video, found footage, 6 min., 2017
Little Death series (Portrait of Hedy Lamarr as Eva from the film Ecstasy), graphite and toner on paper, 9 x 12 inches, 2017
Little Death series (Portrait of Hedy Lamarr as Eva from the film Ecstasy), graphite and toner on paper, 9 x 12 inches, 2017
Epilogue (Persona), single channel black and white video with sound, animation, found footage, portions of Ingmar Bergman’s Persona (1966), original sound composition by Mondo Rip remixed by Garza, 6 min. 30 sec., 2016
A Hostage (Patty Hearst/Nurse), single channel video with sound. dialogue excerpts from the film Persona (1966) directed by Ingmar Bergman and audio tapes Patty Hearst made while held captive by the Symbionese Liberation Army, 30 min. 12 sec., 2016
Rage Room, single channel video, 12 min. 56 sec., 2016
Rendition (Patty Hearst) series, digital image printed on Platine fibre rag archival paper, 36 x 24 inches, 2016
By Request (fluorescent oraange pump), single channel video with sound, 12 min., 2016
Nike AF1 (from white to red), single channel video with sound, 13 min., 50 sec., 2016
X (Equis), Matte black spray painted Werner 6 ft. Fiberglass Twin Step Ladder with 300 lb. Load Capacity and Type IA Duty Rating, acrylic mirror and recycled wood pallet, 2016
A Study for a Monument, wood, metal, chicken wire, fluorescent lights, cotton flag, 160 x 60 x 72 inches, 2013
Mediate/Meditate, video projection, broken asphalt, sand, twisted rebar, burlap, nails, shrapnel and other debris, dimensions variable, 2012