Growing up in the San Diego/Tijuana transborder culture, art making has become a way to reconcile both my American identity with my Mexican heritage. Folklore, performance and popular culture are the lenses I use to examine my Mexican/American heritage. Informed the Kitsch art sold at the border crossing along with the works of artists from the 60s and 70s such as Claes Oldenburg and Judy Chicago, my work consists of simple objects and actions that seek to cross both high and low art.

Using piñatas as a witty commentary on contemporary issues, I playfully transform these iconic forms by incorporating novel materials and methods of production to contradict its traditional function. I experiment with the traditional performative role of the piñata by often placing them on handmade paper pedestals as static objects. This approach aims to provoke thought by stripping away their traditional function as hanging objects to be destroyed. Any previously associated promises of reward (or candy) one might have with piñatas is denied.

For the works depicted in my body of work entitled ASKING FOR IT, my research involves turning stigmatized feminine objects into piñatas. Delving into the introspection about the meaning of these objects, I investigate the personal decisions each entails as they often are objects that can be frown upon. Scale for these sculptures play an important part role in the formal qualities of the works; as these private objects become unavoidable.

Moving forward, my research continues to explore ways to transform the performative role of the piñata through the integration of engines and technology into its design as it slowly evolves into a socially engaged practice. Currently I am a visionary in action for the grassroots non-profit organization Save Starlight. Our efforts involve revitalizing  the abandoned Starlight Bowl located in Balboa Park as a community based performance space.   


"Most recently, I revisited my investigation into the performative role of the piñata as a socially engaged sculpture through an anti-time capsule during the unveiling of a time capsule hosted by a San Diego based public art series called Parkeology. People were invited to participate in the ceremony that contradicted the role of preserving objects for the future, instead they invited to write down on a piece of a paper anything that they didn’t want to last for future generations. The participating audience read their thoughts outloud, then proceeded to insert the message into a slot on the Clock (anti-time capsule). The ceremony concluded by destroying the anti-time capsule by placing it into a fire pit."