learning
Allerton Deep Mapping, 2018
This map was made in response to Brett Bloom and Nuno Sacramento’s deep mapping as part of a response in Ryan Griffis’ course Art and the Anthropocene in the Fall of 2018. I made a Turkish fold map that included a drawing of the peonies garden at Allerton Park in Monticello, Illinois. If you flip through the map folds like a book, bits of texts from Allerton brochures were edited and reconstructed to create a poem in response to the gardens, the lands, and a nonlinear sense of time. After making a master map, I photocopied and distributed copies to my classmates to share as a new way of thinking about and space and time in relationship to what we know and the things we make to make sense of things.
Fiona the Hobbyhorse, 2018
This short illustrated story is a reflection on girlhood and how we build our own community through believing in each other. I wrote this story in Dr. Ruth Nicole Brown’s Gender and Women’s Studies classroom originally as a response to Joy Harjo’s beautiful story For A Girl Becoming. At the time I had recently become fascinated with hobby horses and the subculture built around making and performing with them.
Walking Maps made in conversation with Catalina Hernández-Cabal, performance and enactment TBD.
This series of paintings and text was made in collaboration with Paulina Valencia Camacho, Jody Stokes, Catalina Hernández Cabal, Alicia De Léon, Emma Jebe, and Ahu Yolac. Upon inviting each of my colleagues to share a recipe that a woman important in their lives shared with them, I painted each dish imagined by the ingredient list and description. This work imagines what we build together through sharing time, food, stories, and imaginaries.
Concept Dream Syllabus for a course on Art & Food, risograph, block print, and inkjet print, 2018.
hand-painted workbooks
Four work books I made in response to Eisner’s “Three Lessons that all Schools Teach” in The Educational Imagination(2002). I hand painted and made these workbooks with images of things that I see and confront on a daily basis. I asked that my classmates and professor interact with the books and write their interpretation or judgement about these things on the inside. Afterwards we discussed our reactions, what the pairing of two objects can possibly say, how painting these things may change our read, and how interacting with the book made us think about/reflect on the things. Each workbook included a picture of a book I have, but have not read yet and an object or plant that is experiences through our senses.
1/4 hand-painted workbooks, 4 1/2 x 6 inches, response by Catalina Hernández-Cabal, 2018.
2/4 hand-painted workbooks, 4 1/2 x 6 inches, response by Shivani Bhalla, 2018.
3/4 hand-painted workbooks, 4 1/2 x 6 inches, response by Sarah Travis, 2018.
4/4 hand-painted workbooks, 4 1/2 x 6 inches, response by Ahu Yolac
These three bags were made in response to a zine making art project that SOLHOT did in the spring of 2019. Prompted to consider who we love, care for, and celebrate, we made zines and drawings about said and imagined people, places, or things. These objects, made with the sincerity which is often coupled with serious play and the poetry which is ever present in the words and gestures of SOLHOT, were inspired by the truths which are known through the work of artists like Chicago based comic artist Bianca Xunsie and artist and educator Indyia Robinson. By incorporating different types of texts which expand our understanding of how visual, written languages can be both expressive and communicative art forms and this project hopes to inspire the continuation of these processes. One such continuation was the making of these bags which hold the materials to make more zines, comics, and objects. Artist and educator Indyia Robinson and myself made these bags with the materials remaining from the first zine making session and added a few bits of flare to echo different ideas and beliefs shared in SOLHOT.
drawing new(s)
These drawings are part of a larger drawing I made while mapping out some of the main points I found while reading texts on curriculum studies. This process is helpful when positioning names, authors, ideas, terms, and paths which guide relations between each.
Drawing Lear—Test Print (2018). I made this print in the process of creating books based on Jonathan Lear’s book Radical Hope and his reflection on the text, “The Call of Another’s Words” (2014). After asking my class to engage in a collective reading of the books I made, all which had pulled quotes from Lear, my professors asked me to present the piece again at the Humanities and Public Life: A symposium of the Illinois 150 conference onThe 21st Century University and Research for the Public Good. I made fifty books as part of that project and this quote was printed inside ten of those books.
Inside of one of the five different small books I made in response to Lear’s text. Words of Plenty Coups.