A Community Art and Social Collaboration
The Errata Project,
building on the conscious omission of women artists in the early
editions of H.W. Janson’s History of Art, takes the form of a
continuously growing library archive dedicated to female artists and
establishes a related social platform. The project is realized through
participating institutions as they collaborate with the public. It
creates an instrument for community involvement to maintain sustained
dialogues about women in art and society with the ultimate goal of
sensitizing people at local levels towards gender equality and positive
The Errata Project forms part of the 2018 Oficina de Proyectos Culturales (OPC) Public Programming, awarded support by the Fundación Jumex Arte Contemporáneo.
Errata Project PDF (Eng) (Esp) (926 KB)
Gringo: Taking Root in a Faraway Land
Forming part of a public plaza or walkway, the installation Gringo is made by cutting away or creating with the existing materials, the letters of the word Gringo, as openings to the ground below, where grass and small flowers are planted.
The realization of Project Gringo
is dictated by the physical characteristics, weather and demographics
of the host location to create a platform for discussion about the
historical, conceptual, and social ramifications related to the word Gringo and the symbiotic nature of an immigrant’s life in a foreign community.
Beyond the Agentic State
works in this project are derived from military ribbons of specific generals and inspired by
the Obedience Experiment from the 60s conducted by Stanley Milgram at
Yale University. Removed from the context of the military uniform and
scaled up in size, the design of the medals transforms into a colorful
work of art in a modernist, hard-edge style, distant from the concept
Beyond the Agentic State 3, 2018
300 x 200 cm.
Rendezvous: This Land is My Land
The romantic and majestic landscape paintings of the later
19th century played a pivotal role in the concept of Manifest
Destiny and western expansion in the United States. These works inspired
many to move west with the promise of a new life in unspoiled lands teeming
with abundant natural resources. The concept of utopia continues in the
The works from the Rendezvous
Landscape Series are comprised of imaginary images, post cards and found
landscape paintings. The landscapes from this series are then sectioned off in
quadrants in a similar fashion to surveyed land. The grids also pertain to the
multitude of grids we use and encounter in our daily lives, such as the
longitude-latitude indications on our GPS, street grids and even the pixel grid
on our computers.
The surface of the landscapes are then painted on to
indicate areas designated for development and or cut away in parts revealing a
plaid, or Tartan design. This design reflects my Scot-Irish ancestry and
communal carbon footprint and creates a reference to a street grid, an idea influenced
by the work of Piet Mondrian, especially his work following his arrival in NYC
after WWII broke out. The removed sections of the landscapes are indebted to
the process of destruction utilized in the work of Lucio Fontana. The
destruction in this case, however, is systematic.
The found paintings for the Rendezvous Series inherently embody a historical reference to the origins
of the landscape genre. Even the most common, production line, factory landscape
found in many homes are simply a diluted commercial continuation of a long
tradition of landscape paintings offering a window to an unspoiled utopia.
Rendezvous 16.3, 2016
Superimposed, archival prints mounted on cut aluminum with acrylic paint
100 x 100 x 5 cm.
Rendezvous 17, 2014
Oil paint on canvas, plywood and printed cloth
69.5 x 99 x 3.5 cm.
work is an intervention with a painting executed by the artist Aldolfo
Espinoza de los Monteros. Painted in the early 70s, I found this piece
hanging on the wall of one of my favorite jazz lounges, El Patio de Mi
Casa, in Puerto Vallarta. Years after an initial request, the owner
graciously allowed the evolution.
Art/Sign (German version)
power lies in its freedom to develop beyond the constraints and limits
of a logical social construct. Art creates windows in this social
construct which allow us the opportunity to see beyond prescribed
limits. Art germinates in the cracks of the infrastructure and grows
heuristically, not logically, through chance and discovery,
unpredictably, taking root in the friction and debris of daily lives.
Ultimately, the collective force of art molds our social identity
creating a sense of place for each generation.
Project is an intervention, or sculptural installation using the
European dead-end street signs on site, or as sculptural elements to
offer a dialogue on the power of art in our society.
“We need art in order not to allow this world to become a house without an outside.”
Karsten Harries, 2009
works in this project address levels of censorship through the playful
modification of a published text. The original text is progressively
pared down to create diverse meanings very distinct from the original
Within this same series, several works demonstrate an extraction of Spanish texts from an original English text.
Image: Extraction: Kosuth: Spanglish: La Cultura
travelers, our tendency is to focus on the visual aspects of a trip,
capturing images of the places and people we want to remember, or
share with others. In this group of works the focus is on a different
aspect of travel...a graphic trace of the vibrations as we move from
one place to another.
Good Vibrations is a group of drawings that captures the vibrations and movements while traveling by train between destinations.
It was an admiration of minimal line drawings from the 60s and 70s that initially inspired the Spiral Series (1998- ). Using simple systems, artists such as Sol LeWitt and Agnes Martin created beautifully sophisticated work.
concept of chance, however, is not inherent in much of this work. I was
interested in finding a simple system for creating drawings that adhere
to basic rules, but which can also develop without a specific outcome.
It was the organic beauty of altitude levels on topographic maps that
brought me to the idea of using a simple spiral.
its beauty, the spiral form has a rich, dense history dating back to
ancient, megalithic art and is prevalent in nature, fractal growth
systems found on any scale from minute biological configurations such
as DNA strands to the vast formations galaxies demonstrate as they
expand in the universe.
Carved Spiral 37, 2016
A single line carved into cut and sanded acrylic sheeting, mounted on a metal frame
179 x 246 x 6 cm.
is a collection of works and projects using eroded brick and mortar
fragments accumulated since 1985 from various parts of the world.
a form of contemporary archaeology, these fragments have been used in
small intimate works as well as large installations to offer
discussions on time, purpose, chance, destiny and archaeological
Beachcombing for fragments at the mouth of the Cuale River in Mexico, 2016
collaboration with students and professionals, a series of invented
texts and timelines were created to establish a history for a selection
of eroded fragments to underline the unknown histories inherent to each
fragment and to parallel the use of story-telling as tool in the
mechanics of historical documentation.
La Sala, 2012,
Eroded brick and mortar, new brick, sand and rebar
Installation view: Galería Omar Alonso, Puerto Vallarta, Mexico
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