The cross section of public and private identity has nurtured my interest in examining and better understanding how an individual constructs their personal narrative, and how ones personal archive of imagery and memory relate to that construction. What does it mean to be culturally raised Mexican in the private sphere and to assimilate to American culture in the public, and how do you consolidate these two experiences? These questions have led my practice to revolve around broadly exploring identity politics, while closely examining race, culture's connection to imagery, and society's tendency to define "otherness" in oversimplified and singular terms.
My paintings subject matter unpacks the visual tropes I associate with my experience as a Chicanx in the United States. This initial unpacking functions as a entry point to a broader conversation that explores the transmutation of the image; how historical and cultural filters can re-contextualize iconography, permitting it to exist in various spaces. I place family photos, Catholic imagery and Chicanx iconography into surreal landscapes, to serve as a framework in which these images can live together, and also comment on the elasticity of images. This elasticity makes it possible for the image to live through different epochs, and still preserve it's cultural significance. It is within this elasticity in which my painting exist, one which deals with familiarity, yet simultaneously broadens my relationship with these images.