Irizarry 2020 Oil and Acrylic on canvas 42 x 32 inches
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The painting depicts a bust self-portrait of the artist directly looking at the viewer. This piece has a red outer frame that depicts a gold rattan weaving pattern. The inner frame consists of a mint green to pastel blue gradient. On top of the gradient, + Enlarge
Self Portrait (April 2020) 2020 Oil and acrylic on canvas 32 x 22 inches
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Self Portrait (April 2020) detail 01 2020 Oil and acrylic on canvas
The painting consists of a horse’s head framed by a window. In the room there is a pink rococo style sofa and ornate curtains. The furniture is contrasted with tiles and red columns. The outer border of the painting is pastel blue and has glasswork detail + Enlarge
Corre Yegua 2020 Acrylic on panel 12 x 9 inches
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A pink guayabera shirt surrounds the inner rectangle which depicts a mantel and an ornate plate. + Enlarge
Abrazo 2020 Acrylic on panel 20 x 16 inches
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A portrait of a red Ox, surrounded by a pastel purple background. To the left, there is a door that contains white Mussaenda flowers. On the top of the door, there is glasswork and mundillo (bobbin lace) superimposed and surrounding the ox. The outer fram + Enlarge
Buey 2020 Acrylic on canvas 20 x 16 inches
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Buey detail 01 2020 Acrylic on canvas
Statement

My paintings are collages of inherited memories, framed like a photograph, by symbols of post-colonial history. I grew up in Güayanilla, Puerto Rico, a place consumed by the remnants of the colonial labors of sugarcane production. My paintings combine both personal and collective memories tied within the space of post-colonization. I am drawn to critique colonialism’s unexpected intimacy. As its power controls our language, decor, and architecture. In Puerto Rico, a large overly decorated house signifies power and wealth, appearances speak louder than reality. I make oil and acrylic paintings on canvas and panel. The paintings are punctuated with domestic colonial signifiers: tiles, rococo furnishing, mundillo (bobbin lace), and stained glass: My family’s fragile facade of success. The painted frames reference familial photographic sources. Gold paint is ever-present as a way to reference German porcelain, which has become a decor staple in my family. The vibrant, pastel colors reference local architecture. I paint in remembrance of my father, grandparents, and uncles whose lives had been forcefully structured by post-coloniality. These paintings are fragmented depictions of stories that should not be forgotten

Painting (BFA) Students