http://www.onelnaar.com/collection daily 0.75 2026-01-30 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761354395715-KV7OV6NG5YWT07A5KUTY/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - enamel on drywall board https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761354395715-KV7OV6NG5YWT07A5KUTY/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - enamel on drywall board https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761354982740-R4U8VL621HJUJUJGNUSY/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - enamel on drywall board https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761614222400-1MU3IF81FJZV8OJ124EU/image-asset.jpeg Banana leaves and VapoRub walk into a studio… enamel on drywall board https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748647640864-GQXVZAUW55VV3XWHU4J7/MansasMusasTriptych2025greyWeb.jpg Banana leaves and VapoRub walk into a studio… - Musas Mansas enamel on drywall and custom wood panel 48 × 108 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748651747512-5C5HQU7MGAHQ9NFZNBQ1/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Mansas Muses (panel 1) enamel on drywall and custom wood panel 36 × 48 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792247000-IQE408MA9LVT8IUBP2M9/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - The Cross Bronx enamel on drywall and custom wood panel 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748305047112-S8GAR96KQ29N0PPWQFY5/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Mansas Musas (panel 3 detail) enamel on drywall and custom wood panel 48 × 108 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748301636572-XXTC6X6GCP1EB8PQ5391/image-asset.jpeg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748301375929-I3L9150BECGQ430OVSVE/image-asset.jpeg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748207287135-PC8QE85WOMOK49O68QFE/image-asset.jpeg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792379486-593O91AIH0D0TWYPGZTK/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Back Against the Wall enamel paint and pigmented plaster on drywall and custom wood panel 48 x 72 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792394812-1SLN4CJNI3241OLH8HV7/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - A Leaf Outta Drywall Dineen Hull Gallery, NJ drywall, pigmented plaster, mentholated petrolatum, printed plastic bag, banana leaves, resin and wood. 50.5 x 38.5 x 4 inches 2022 “A Leaf Outta Drywall” was exhibited in Jersey City for the show “Your Home Is My Home”. Curator Michelle Vitale commissioned work that spoke to the urban immigrant experience to be exhibited by the windows of the gallery; juxtaposing the leaves and drywall against a skyline interrupted by the construction of luxury condominiums during a housing crisis. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792416878-UBQ8Q9EAEXD9PL4HUTGT/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - "For Your Broken Shin" (after Shakespeare) Vicks VapoRub on plantain leaf in petroleum jelly filled acrylic frame. 12 x 16 x 1 inches 2018 Earlier versions of this piece were exhibited at Dineen Hull Gallery in 2022 and Trestle Gallery in 2018. The title of the piece is taken from a line in Shakespeare’s Romeo and Juliet where Romeo tells Mercutio, “Your plantain leaf is excellent for that (broken shin)” (1.2.53). I apply Vicks VapoRub on the leaf to reinforce this idea of healing. The wilting leaf sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum, which in turn is framed by a thick border of petroleum jelly, creating contrasting values. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792436052-M0RE4TZUMUF0X1W9LPLG/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Los Tres Golpes (Bergdorf Bag Lady) Triptych drywall, oil, pigmented plaster, posters, bags. 36 x 24 inches each 2023 “Los Tres Golpes (Bergdorf Bag Lady)” was made using inexpensive construction materials and traditional art supplies to viscerally capture the disparity between my father’s life as an immigrant manual laborer and mine, a college graduate in the arts. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792473086-H3NFLTH4313BFJJWB9L4/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Insert Coins (A Fixa Caiu) Triptych oil and alkyd on newspaper, canvas and wood. 36 x 24 inches each 2023 The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses . Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building ; others made from spilled liquor, food and vomit from the revelry of the night before. However, I work through the possible narrative of exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708824619359-F9PQ6YIHZO01M8U1CDXG/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Autumn's Intrigue in A Minor oil, alkyd, canvas, frame, printed vinyl and brown paper bag. 20 x 20 inches 2023 “Autumn’s Intrigue in A Minor” is part of a series of paintings grounded in a poetic approach to communicating the Caribbean Diaspora experience through the tenets and legacy of medium-specificity. My inspiration arises from historical precedent- the U.S. Nationality Act of 1940 was drafted the same year as Clement Greenberg’s “Towards the Newer Laocoön” was published. In this work I include torn pieces of newspaper articles that relate to the legacy of the aforementioned act. The critical dialogue about what painting is/isn’t from the past 80 years has proven to be as intriguing and perplexing as the conversation around the national identity of Puerto Ricans. Thus, I seek to challenge established Nuyorican aesthetics with paintings rooted in the tension between theory and invention. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792453227-O4JOCXWTRCJB8LI9SPDN/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - The Writing On The Wall (Querida Cristina) enamel paint and pigmented plaster on drywall and magazine pages. 48 x 36 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1617831250823-XF2I7LS1HGY0Y2SQN61O/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - "The (New) School of Athens (after Raphael)" Roundabout.LX residency, Lisbon, Portugal newspaper clippings, catalog pages, trading cards and inkjet prints Dimensions variable 2016 Exhibited in 2016 at Roundabout.Lx in Lisbon, the 25 newspaper clippings, catalog pages, trading cards, and inkjet prints of modern and historical icons gesturing like either Raphael’s Aristotle or Plato figures from his famous painting was inspired from a trip I made to the Dominican Consulate. I was applying for Dominican citizenship at the consulate in Times Square. Prominently displayed over the service window in the waiting room was a letter size inkjet color image of Oscar de la Renta who at that point had been dead for over a year. The waiting room was transformed into an unlikely sacred space once I caught sight of the celebrated designer’s image. It reminded me of visiting the Vatican for the first time and seeing the representations of prominent secular figures like Aristotle and Plato in a religious space. My reimagining of Raphael's seminal piece includes Latin American figures in politics, the arts and entertainment like Oscar de La Renta, Fidel Castro, Melissa Mark-Viverito and Chino Moreno. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1685754867222-06JJE8R04JCDRAMEV6TW/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Break a Leg Mi'ja Dineen Hull Gallery, NJ drywall, pigmented plaster, petrolatum, enamel paint, linoleum tiles, printed vinyl and woven polypropylene 27 x 21.5 x 12 inches 2022 Haphazardly assembled to evoke the interior and exterior spaces of inner city tenement houses, “Break a Leg Mi’ja” was made using inexpensive construction materials. For the show “Your Home Is My Home” curator Michelle Vitale commissioned work that spoke to the urban immigrant experience. That work contrasted starkly against the Manhattan skyline views of the gallery windows interrupted only by the construction of luxury condominiums. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1615238011023-5V2P31LKAN2IAFBGCJKI/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - "A Comer... Gandules" (Lets Eat...Pigeon Peas) after El Gran Combo detail gandules (pigeon peas) and epoxy resin on found commercial print and wood cradled panel 112 x 48 inches 2016 This is a deal shot of the piece “A Comer…Gandules” (Lets Eat…Pigeon Peas) after El Gran Combo. Completed in 2016 and shown during a residency at Art Helix Gallery in Bushwick the following year, the installation is made up of 2 panels, 56 x 48 inches each. Gandules or pigeon peas are boiled, mashed and mixed with resin and plastered onto a collage of corroded Spanish and English magazine ads that speak to my fascination with printed media and urban blight. The natural pigments of these homemade painting mediums serve to complement the manufactured colors of the “decollaged” surfaces to which they were applied. The lyrics in the salsa track, “La Fiesta de Pilito” by the Puerto Rican orchestra El Gran Combo makes reference to the Puerto Rican soul food that was typically enjoyed during the holidays. The song was usually played on the Caribbean Spanish radio stations at Christmas when I was growing up. The ingredients for the foods listed in the song lyrics are used as painting mediums in this piece. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708824661328-IRAEA1QXSMLI7OS05U2J/Naar-Onel-01.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych Vicks VapoRub on plantain leaves and wood 36 x 24 inches each 2017 Exhibited in 2017 at the "Invitational II" show in Art Helix Gallery, Colgão Diptych is the first installation of a series of 4 works in the Colgão series. The title of the series comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. When visiting the rural parts of both the Dominican Republic and Puerto Rico as a child I watched the women in my family use plantain leaves to make pasteles. Pasteles, like Mexican tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1617569748364-CU8LR0NKXZ6UEDV4LHJX/Colg%C3%A3o+%28Hang+Up%29.jpg Banana leaves and VapoRub walk into a studio… - Colgão (Hang Up) Colgão Diptych Knockdown Center, Maspeth, NY Vicks VapoRub on plantain leaves and wood 96 x 60 inches 2018 "Colgao (Hang Up)" was exhibited for a 2018 show at the Knockdown Center in Maspeth, curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming”. The plantain leaves used in the piece were intentionally not preserved and throughout the course of the exhibition slowly wilted away. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. Colgão (Hang Up) is the third installation of a series of 4 works in the Colgão series. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1547650284869-ZQYSPQFP9W5BEFB0EQCJ/COLgaoDIPtychPREopening.jpg Banana leaves and VapoRub walk into a studio… - Colgão Morir Soñando at the Knockdown Center 60 x 96 inches mentholated petrolatum on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708824679081-DCKUXA24Q8TY4FHEAYN2/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Derbi 2017 yucca plant (cassava) and epoxy resin on found commercial print, stretched canvas with plantain lead and wood frame 24 x 18 inches Exhibited in 2017 at New York University Kimmel Gallery's show "Convergence", “Derbi” takes its title from the headline of the printed Portuguese newspaper seen along the lower surface. Yucca (cassava) plant is peeled, shaved, ground, and mixed with resin and plastered onto a collage of corroded Spanish and Portuguese magazine ads that speak to my fascination with printed media and urban blight. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708824716558-L8JUPNW62D2LK20MZ8UM/A_VIEW+2.gif Banana leaves and VapoRub walk into a studio… - "A Comer...Gandules" (Lets Eat...Pigeon Peas) after El Gran Combo gandules (pigeon peas) and epoxy resin on found commercial print and wood cradled panel 112 x 48 inches 2016 Completed in 2016 and shown during a residency at Art Helix Gallery in Bushwick the following year, "A Comer…Gandules (Lets Eat…Pigeon Peas) after El Gran Combo" is made up of 2 panels, 56 x 48 inches each. Gandules or pigeon peas are boiled, mashed and mixed with resin and plastered onto a collage of corroded Spanish and English magazine ads that speak to my fascination with printed media and urban blight. The natural pigments of these homemade painting mediums serve to complement the manufactured colors of the “decollaged” surfaces to which they were applied. The lyrics in the salsa track, “La Fiesta de Pilito” by the Puerto Rican orchestra El Gran Combo makes reference to the Puerto Rican soul food that was typically enjoyed during the holidays. The song was usually played on the Caribbean Spanish radio stations at Christmas when I was growing up. The ingredients for the foods listed in the song lyrics are used as painting mediums in this piece. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708824766928-8C4SGL90P0CYTZUCIJTE/A+Comer+Pasteles+%28Let%27s+Eat+Pasteles%29.jpg Banana leaves and VapoRub walk into a studio… - "A Comer Pasteles" (Lets Eat Pasteles) after El Gran Combo yucca plant (cassava) and epoxy resin on found billboard advertisements; plantain leaves and epoxy resin on wood 49¼ x 37¾ x 2½ inches 2016 Completed in 2016 and purchased by a private collector before it was exhibited, "A Comer Pasteles” (Lets Eat Pasteles) after El Gran Combo is made with shredded and ground cassava plant that was mixed with resin and plastered onto a collage of found subway ads. The natural pigments of these homemade painting mediums serve to complement the manufactured colors of the “decollaged” surfaces of the vinyl printed ads they are applied to. It's wooden frame is covered with organic plantain leaves which is typically used when making traditional Puerto Rican pasteles. The lyrics in the salsa track, “La Fiesta de Pilito” (Pilito’s Party) by the Puerto Rican orchestra El Gran Combo makes reference to the Puerto Rican soul food that was typically enjoyed during the holidays. The song was usually played on the Caribbean Spanish radio stations at Christmas when I was growing up. The ingredients for the foods listed in the song lyrics are used as painting mediums for the work. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1618968749063-MI86THOJX6Y61WLFRECB/For+Your+Broken+Shin+%28after+Shakespeare%29+Final.jpg Banana leaves and VapoRub walk into a studio… - Colgão, "For That Broken Shin" (after Shakespeare) Trestle Art Gallery, Brooklyn, NY Vicks VapoRub on plantain leaf in petroleum jelly filled acrylic frame. 12 x 16 x 1 inches 2018 Exhibited at a show in Trestle Gallery in 2018 curated by Carmen Hermo that explored issues relating to containment and material abstraction, the title of the piece is taken from a line in Shakespeare’s Romeo and Juliet where Romeo tells Mercutio, “Your plantain leaf is excellent for that (broken shin)” (1.2.53). I apply Vicks VapoRub on the leaf to reinforce this idea of healing. The wilting leaf sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum, which in turn is framed by a thick border of petroleum jelly, creating contrasting values. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. Colgão, “For That Broken Shin ” (after Shakespeare) is the final installation of a series of 4 works in the Colgão series. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1618157223290-JQZUN9TQHOQ500UZZ5AP/F993BB03-4A58-405C-845B-B39C07941BFA.jpeg Banana leaves and VapoRub walk into a studio… Antropometria (after Yves Klein) Pioneer at Art Helix Gallery viewer engaging with Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 Exhibited in 2017 for “Pioneer” at Art Helix Gallery, Colgão, Antropometria (after Yves Klein) is the second installation of a series of 4 works in the Colgão series. Viewers are invited to pick up plastic syringes filled with Vicks VapoRub and use them to draw on the plantain leaves hanging on the wall. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Materials that are commonly used in healthcare are repurposed in this work to highlight the relationship that can exist between the nature of the placebo effect and creativity. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1578967554234-4GRWXTZZFEH51PAU8KM4/RDMASD.jpg Banana leaves and VapoRub walk into a studio… - Rock da Mic (after Shaggy Dog) Trestle Art Space Residency Vicks VapoRub on fujiflex digital c-print and acrylic frame 12 x 8 x 2 inches 2018 Completed in 2018 during a residency at Trestle Art Space in Greenwood Heights, Brooklyn, Rock da Mic (after Shaggy Dog) was created by pouring a 1/4 inch thick layer of Vicks VapoRub directly onto a fujiflex digital c-print of a microphone in front of an audience. Once dried some of the medium was removed by my finger to expose the image of the microphone at the center. The digital print sits in an acrylic frame cushioned by a 1/2 inch of the mentholated petrolatum. I am interested in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture. The thick film of petrolatum frosted on top of the surface of the piece provides the viewer with the option of scooping up, pushing in or smudging the organic medium with their hands across the digital print it sits on. However, the work is considered a complete work independent of physical interaction on the part of the audience. The option to interact with the piece is meant to appeal to the viewer’s own agency. The title of the piece comes from a Reggae track written by the Indonesian music group Shaggy Dog. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1581988902790-E4GDITT75C7TBVYXFGP6/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Won't Salsas Last Now still frame 2021 The footage used for this video consists of two performances at Art Helix Gallery on separate occasions between 2017 and 2018. One was of the actual recitation of the requiem and the other was a dance performance inspired by Barry Duncan's palindrome "Won't Salsas Last Now". The piece consists of a requiem for Salsa music written and recited by the artist in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. There are 2 separate audio tracks of the recited requiem, one done live and the other was recorded and edited in a recording studio. The audio is paired with subtitles from Shakespeare’s requiem, “Fear No More the Heat o’ th’ Sun”. Throughout the video piece I also include scenes from the Warner Bros. cartoon "Wackiki Wabbit" released in 1943. Watching this cartoon as a child marked the first time I saw images in mainstream television that resembled what I knew about Caribbean culture. The video is 3:48 minutes long. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1550980982974-94DDKO8FNZFY2T4K65GH/SCHOOLofATHENSinstallationVIEW.jpg Banana leaves and VapoRub walk into a studio… - "The (New) School of Athens (after Raphael)" Roundabout.LX residency, Lisbon, Portugal Mixed media Dimensions variable 2016 In the installation “The New School of Athens (after Raphael)” there are two pivotal references, one ancient and monumental, the other modern and personal. I compiled 25 images of people caught posing like either Raphael’s Aristotle or his Plato figure from his famous painting. The larger images in this installation are of latino figures in politics, the arts and entertainment, Oscar de La Renta, Fidel Castro, Chino Moreno and Melissa MarkViverito. The installation is composed of newspaper clippings, monograph pages, trading cards, photos and inkjet prints. The inpiration for this piece came from a trip I made to the Dominican Consulate in Times Square NYC in 2015 to apply for Dominican citizenship. Prominently displayed over the service window in the waitingroom was a letter size inkjet color image of Oscar de la Renta who at that point had been dead for over a year. The waiting room was transformed into an unlikely sacred space once I caught sight of the celebrated designer’s image. It reminded me of visiting the Vatican for the first time and seeing the representations of prominent secular figures like Aristotle and Plato in a religious space. “The New School of Athens (after Raphael)” was exhibited in Lisbon, Portugal at the Roundabout.LX residency space in 2016. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1486700135781-RD2JHKASJLC93JN83WVJ/A_VIEW+2.gif Banana leaves and VapoRub walk into a studio… - A Comer Gandules (Lets Eat Pigeon Peas) after El Gran Combo gandules (pigeon peas) and epoxy resin on found commercial print and wood cradled panel 112 x 48 inches 2016 "A Comer Gandules (Lets Eat Pigeon Peas) after El Gran Combo" is made up of 2 panels, 56 x 48 inches each. Gandules or pigeon peas are boiled, mashed and mixed with resin and plastered onto a collage of corroded Spanish and English magazine ads that speak to my fascination with printed media and urban blight. The natural pigments of these homemade painting mediums serve to complement the manufactured colors of the “decollaged” surfaces to which they were applied. The lyrics in the salsa track, “La Fiesta de Pilito” by the Puerto Rican orchestra El Gran Combo makes reference to the Puerto Rican soul food that was typically enjoyed during the holidays. The song was usually played on the Caribbean Spanish radio stations at Christmas when I was growing up. The ingredients for the foods listed in the song lyrics are used as painting mediums in “A Comer Gandules (Lets Eat Pigeon Peas) after El Gran Combo”. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1580110806079-5QU22NCT0G4EWJ8TIA47/05_For_Your_Broken_Shin_%28after_Shakespeare%29.jpg Banana leaves and VapoRub walk into a studio… - For Your Broken Shin (after Shakespeare) Watch it Burn show at Trestle Art Gallery Vicks VapoRub on banana leaf in petrolatum filled acrylic frame. 12 x 16 x 1 inches 2018 The title, "For Your Broken Shin" is taken from a line from Shakespeare’s Romeo and Juliet where Romeo tells Mercutio, “Your plantain leaf is excellent for that (broken shin)” (1.2.53). I apply mentholated petrolatum on the plantain leaf to reinforce this idea of healing. The plantain leaf in "For Your Broken Shin" sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum, the mentholated petrolatum in turn is framed by a thick border of petroleum jelly, creating contrasting values. Compositionally I looked to Josef Albers. The piece forms part of the series “Towards the Newest Laocoon” where I focus on petrolatum based products like Vicks VapoRub and Vaseline as my primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. "For Your Broken Shin (after Shakespeare)" was exhibited at a show in Trestle Gallery in 2018 curated by Carmen Hermo entitled “Watch it Burn” which partly explored issues relating to containment and material abstraction. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1615236249861-ZHXHPB6OBEZGIJ4IK36R/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Colgão Diptych Morir Soñando at the Knockdown Center 60 x 96 inches each Vicks VapoRub on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1615236737119-RCBN6ZL6IIYB6HMSOSG8/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Colgão Diptych detail Morir Soñando at the Knockdown Center 60 x 96 inches each Vicks VapoRub on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. "Colgao" was exhibited for a 2018 show curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming.” The plantain leaves used for my painting were not preserved and throughout the course of the exhibition slowly wilted away. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469200731551-J8W8HL99MHRSKB65Y3L6/Eye-Level-%28after-Stuart-Davis%29-angled-view.gif Banana leaves and VapoRub walk into a studio… - ​“Eye Level (after Stuart Davis)” Yucca and epoxy resin on found billboard advertisements; banana leaves and epoxy resin on wood 49¼ x 37¾ x 2½ in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1580111202638-K1LHA9A8EPQNDCCLIQTO/PioneerShowPerformanceInSuit.jpg Banana leaves and VapoRub walk into a studio… - Study for Colgão Pioneer at Art Helix Gallery Performance with lectern, Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 In this version of Study for Colgão plantain leaves are used for the surface while petrolatum based products like Vicks VapoRub serve as the primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. Viewers are encouraged to physically engage with my installations. The medium on the surface of the work can be injected, scooped up, pushed in or smudged. The viewer can even decide to apply and rub it on their hands if they choose to. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1580111202638-K1LHA9A8EPQNDCCLIQTO/PioneerShowPerformanceInSuit.jpg Banana leaves and VapoRub walk into a studio… - Study for Fear No More The Heat O' Th' Sun (after Shakespeare) 1/2 and Study for Colgão 3/3 Pioneer at Art Helix Gallery performance Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 This is a still from a live performance in the form of a requiem done in the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. It was recorded at Art Helix Gallery in 2017 for Shim Network’s Pioneer exhibit. This footage was then used for a video piece entitled "Fear No More The Heat O' Th' Sun (after Shakespeare)" https://vimeo.com/316692498 taken from the requiem in Shakespeare’s play Cymbeline. The video piece also consists of footage from a dance performance recorded at Art Helix Gallery in 2018. It was inspired by Barry Duncan's palindrome "Won't Salsas Last Now". https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1580895504862-H5S9CNR62XDTI763S3VC/06_Eye_Level_%28after_Stuart_Davis%29.jpg Banana leaves and VapoRub walk into a studio… - Eye Level (after Stuart Davis) yucca and epoxy resin on found subway ads and wood panel; plantain leaves and resin on wood frame. 49¼ x 37¾ x 2½ inches 2016 The graphic quality of “Eye Level (after Stuart Davis)” is inspired by the graffiti on the walls of the buildings facing Whitlock avenue between 165th street and Westchester Avenue in the North/South Bronx border. Those markings, along with many others that have adorned the areas bordering the I-95, serve as a visual reminder of the effects of the north/south division of the Bronx brought about by the expressways that hover over Whitlock avenue. The decades of urban decay that followed their construction has generated a 'tale of two cities' that has not gone unnoticed by Hollywood and other media outlets over the latter part of the 20th century. In "Eye Level (after Stuart Davis)" yucca (cassava) is peeled, ground, shaved and mixed with resin and plastered on found subway ads. This piece is part of the series “Whitlock and 165th” wherein materials commonly found in Afro-Caribbean kitchens, the urban bodegas of the Dominican diaspora and subway platforms are used. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1580008849357-3VDYZGTJO6JSFQBQ26CU/Street+Characters.jpg Banana leaves and VapoRub walk into a studio… - Street Characters Shim Art Network at Odetta Gallery oil on mixed media 24 x 36 inches each 2019 The sinuous lines that crawl throughout these works were produced by an autonomous masking process. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised three-dimensional stencil evoking the random mark making found in the public spaces of inner city neighborhoods. I’m interested in exploring by way of miscue and deconstructions how the stained, chipped and eroded surfaces of the areas most affected by blight communicate through visual narrative the history of violence, vandalism, and neglect. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1579834707079-A7EEP5X4I8LTN6TWZR7R/02_Rock_Da_Mic_%28after_Shaggy_Dog%29_installation_shot.jpg Banana leaves and VapoRub walk into a studio… - Rock da Mic (after Shaggy Dog) installation shot Trestle Art Space Residency Vicks VapoRub on duraflex and acrylic frame 12 x 8 x 2 inches Winter 2018-2019 The thick film of mentholated petrolatum frosted on top of the surface in “Roc Da Mic (after Shaggy Dog)” provides the viewer with the option of scooping up, pushing in or smudging the organic medium with their hands across the duraflex print it sits on. However, the work is considered complete independent of physical interaction on the part of the audience. The option to interact with the piece is meant to appeal to the viewer’s own agency. Petrolatum based products like Vicks VapoRub and Vaseline serve as my primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. "Rock da Mic (after Shaggy Dog)" was created by pouring a 1/4 inch thick layer of mentholated petrolatum directly onto a duraflex print of a microphone. Once dried some of the medium was removed by my finger to expose the image of the microphone at the center. The duraflex print sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum. The title of the piece comes from a Reggae track written by the Indonesian music group Shaggy Dog. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1581993993535-TKVRHSUWY3XTWVLG9FAI/03_Colg%C3%A3o.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1560344317821-T0JOV81ILI438MEUBT5P/STILLframeDFTHOTScomposite.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543167227629-J0KH1KI146SMKLX37FLP/Naar-Onel-1.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1581988902790-E4GDITT75C7TBVYXFGP6/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - Fear No More The Heat O' Th' Sun (after Shakespeare) link to video: https://vimeo.com/316692498 still frame 2019 The title for "Fear No More The Heat O' Th' Sun (after Shakespeare)" is taken from the requiem in Shakespeare’s play Cymbeline. The video consists of a requiem that is written and recited in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. The footage used for this piece consists of two performances at Art Helix on separate occasions between 2017 and 2018. One was of the actual recitation of the requiem and the other was a dance performance inspired by Barry Duncan's palindrome "Won't Salsas Last Now". There are 2 separate audio tracks of the requiem recited, one done live and the other was recorded and edited in a recording studio. Throughout the video piece I also include scenes from the Warner Bros. cartoon "Wackiki Wabbit" released in 1943. It was the first time as a child I heard the term “White man”. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1536005876951-IEYBX4OQ6Y7GJ8BGF769/COLgaoDIPtychPERFORMANCE.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych detail and performance Morir Soñando at the Knockdown Center 60 x 96 inches each Summer 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. "Colgao" was exhibited for a 2018 show curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming.” The plantain leaves used for my painting were not preserved and throughout the course of the exhibition slowly wilted away. My attire for the opening which included a guayabera shirt, a straw hat, Yankees baseball knee length socks and Chuck Taylors spoke to my roots both “jibaro” (rural Puerto Rican) and urban. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1550919186653-U476414IS1U8O8PESAME/FYBSAS.jpg Banana leaves and VapoRub walk into a studio… - For Your Broken Shin (after Shakespeare) Watch it Burn show at Trestle Art Gallery mentholated petrolatum on banana leaf in petrolatum filled acrylic frame. 12 x 16 x 1 inches Fall 2018 The title, "For Your Broken Shin" is taken from a line from Shakespeare’s Romeo and Juliet where Romeo tells Mercutio, “Your plantain leaf is excellent for that (broken shin)” (1.2.53). I apply mentholated petrolatum on the plantain leaf to reinforce this idea of healing. The plantain leaf in "For Your Broken Shin" sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum, the mentholated petrolatum in turn is framed by a thick border of petroleum jelly, creating contrasting values. Compositionally I looked to Josef Albers. The piece forms part of the series “Towards the Newest Laocoon” where I focus on petrolatum based products like Vicks VapoRub and Vaseline as my primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. "For Your Broken Shin (after Shakespeare)" was exhibited at a show in Trestle Gallery in 2018 curated by Carmen Hermo entitled “Watch it Burn” which partly explored issues relating to containment and material abstraction. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1580109888812-69WJ98RLIUKF9V1J8OLY/WONTsalsasLASTnow.jpg Banana leaves and VapoRub walk into a studio… - Study for Fear No More The Heat O' Th' Sun (after Shakespeare) 2/2 Reversibility 101 at Art Helix Gallery performance 2018 These are stills from a dance performance recorded at Art Helix Gallery in 2018. It was inspired by Barry Duncan's palindrome "Won't Salsas Last Now". This footage was then used for a video piece entitled "Fear No More The Heat O' Th' Sun (after Shakespeare)" https://vimeo.com/316692498 taken from the requiem in Shakespeare’s play Cymbeline. The video consists of a requiem that is written and recited in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. Throughout the video piece I also include scenes from the Warner Bros. cartoon "Wackiki Wabbit" released in 1943. It was the first time as a child I heard the term “White man”. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1559352897693-3V2F0S6ZY4E46CCL4VLH/Colg%C3%A3o+Diptych.jpg Banana leaves and VapoRub walk into a studio… Colgão Diptych mentholated petrolatum on banana leaves 60 x 96 inches each Summer 2018 The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. "Colgao" was exhibited for a 2018 show curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming.” The plantain leaves used for my painting were not preserved and throughout the course of the exhibition slowly wilted away. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1547655154123-U54QOBWDKA4JPT6K739T/FORyourBROKENshinWEBSITE2.jpg Banana leaves and VapoRub walk into a studio… - For Your Broken Shin (after Shakespeare) Watch it Burn show at Trestle Art Gallery mentholated petrolatum on banana leaf in petrolatum filled acrylic frame. 12 x 16 x 1 inches 2018 The title, "For Your Broken Shin" is taken from a line from Shakespeare’s Romeo and Juliet where Romeo tells Mercutio, “Your plantain leaf is excellent for that (broken shin)” (1.2.53). I apply mentholated petrolatum on the plantain leaf to reinforce this idea of healing. The plantain leaf in "For Your Broken Shin" sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum, the mentholated petrolatum in turn is framed by a thick border of petroleum jelly, creating contrasting values. Compositionally I looked to Josef Albers. "For Your Broken Shin (after Shakespeare)" was exhibited at a show in Trestle Gallery in 2018 curated by Carmen Hermo entitled “Watch it Burn” which partly explored issues relating to containment and material abstraction. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543174021788-AN5HGA3KT44S8OJ2X0A3/FORyourBROKENshinWEBSITE2.jpg Banana leaves and VapoRub walk into a studio… - For Your Broken Shin (after Shakespeare) Watch it Burn show at Trestle Art Gallery mentholated petrolatum on banana leaf in petrolatum filled acrylic frame. 12 x 16 x 1 inches 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1563665330956-7HOI885V8TTLHN3QZU1O/Naar_Onel_08.jpg Banana leaves and VapoRub walk into a studio… - Eye Level (after Stuart Davis) yucca and epoxy resin on found subway ads 49¼ x 37¾ x 2½ inches 2016 "Eye Level (after Stuart Davis)" has a wooden frame wrapped in resined banana leaves. The graphic quality is inspired by the graffiti on the walls of the buildings facing Whitlock avenue between 165th street and Westchester Avenue in the North/South Bronx border. Those markings, along with many others that have adorned the areas bordering the I-95, serve as a visual reminder of the effects of the north/south division of the Bronx brought about by the expressways that hover over Whitlock avenue. The decades of urban decay that followed their construction has generated a 'tale of two cities' that has not gone unnoticed by Hollywood and other media outlets over the latter part of the 20th century. In "Eye Level (after Stuart Davis)" yucca (cassava) is peeled, ground, shaved and mixed with resin and plastered on found subway ads. I looked to Chris Ofili’s elephant dung paintings in working with yucca to evoke the painterly. This painting is part of the series “Whitlock and 165th” wherein materials commonly found in Afro-Caribbean kitchens, the urban bodegas of the Dominican diaspora and subway platforms are used. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543173789966-WGC15XZACXTNV29JV699/FORyourBROKENshinWEBSITE2.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543172976277-WZC8N4HH0128X0AP2P9N/FORyourBROKENshinWEBSITE.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543165590472-BT7DZKW6ZZ27KCEY51NX/COLGAO%40BDC.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych (6/22/18) Morir Soñando at The Knockdown Center petrolatum on banana leaves 8 x 5 ft each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543087884103-QNA19FVUI0IYZAR8RUZG/IMG_9400edit.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych (6/22/18) Morir Soñando at The Knockdown Center petrolatum on banana leaves 8 x 5 ft each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1536004158333-MI4KPSHD64XVT2Z5T6RH/COLgaoDIPtych.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych (6/22/18) Morir Soñando at The Knockdown Center petrolatum on banana leaves 8 x 5 ft each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1547654051344-NHHR2NAN3U5TZ5Q6BLNF/FORyourBROKENshinWEBSITE2.jpg Banana leaves and VapoRub walk into a studio… - For Your Broken Shin (after Shakespeare) Watch it Burn show at Trestle Art Gallery mentholated petrolatum on banana leaf in petrolatum filled acrylic frame. 12 x 16 x 1 inches 2018 The title, "For Your Broken Shin" is taken from a line from Shakespeare’s Romeo and Juliet where Romeo tells Mercutio, “Your plantain leaf is excellent for that (broken shin)” (1.2.53). I apply mentholated petrolatum on the plantain leaf to reinforce this idea of healing. The plantain leaf in "For Your Broken Shin" sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum, the mentholated petrolatum in turn is framed by a thick border of petroleum jelly, creating contrasting values. Compositionally I looked to Josef Albers. "For Your Broken Shin (after Shakespeare)" was exhibited at a show in Trestle Gallery in 2018 curated by Carmen Hermo entitled “Watch it Burn” which partly explored issues relating to containment and material abstraction. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1536013063561-LDSZ0F06CI1JXF4YZRPI/COLgaoDIPtych8-19-18.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych (8/20/18) Morir Soñando at The Knockdown Center petrolatum on banana leaves 8 x 5 ft each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1516895761242-PU22PKVDYL1HW7PFTZHS/REQUIEMforORGANSwithoutAbody.jpg Banana leaves and VapoRub walk into a studio… - Untitled, Anthropometry Diptych (after Yves Klein), Performance at Art Helix Gallery mixed media 4 x 2 feet each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519074824840-YTRKAB4TC7SCQ64L7H7J/Untitled%2C+Anthropometry+Diptych+%28after+Yves+Klein%29.jpg Banana leaves and VapoRub walk into a studio… - Untitled, Anthropometry Diptych (after Yves Klein) detail petrolatum (Vicks VapoRub) on plantain leaves lined with resin 4 x 2 feet each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1517450166881-C4CZ4OWWKPK94IWN0WXT/COLGAOdyptich.jpg Banana leaves and VapoRub walk into a studio… - Study for Colgão Diptych petrolatum on banana leaves 3 x 2 ft each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1514739721216-1F26RB105C3WP841W3LI/AFTERyvesKLEINwall3final.jpg Banana leaves and VapoRub walk into a studio… - Untitled, Anthropometry Diptych (after Yves Klein) 2017 petrolatum on banana leaves with resin lining dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1514684833860-J0N9JUP8CPQL1LHLTSH3/AFTERyvesKLEINwall3detail.jpg Banana leaves and VapoRub walk into a studio… - Colgão Diptych detail petrolatum on banana leaves with resin lining 3 x 2 feet each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1537210824153-T5PFJB0TR0GFFN5Z2DUF/Study+for+Hang+Up+diptych+%28after+Eva+Hesse%29.jpg Banana leaves and VapoRub walk into a studio… - Hang Up Diptych (after Eva Hesse) petrolatum on copper wire; banana leaves and resin over wood 36 x 24 in. each 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1514864549461-Q4VMT9PGAP6YZ4PC5VO3/PLATAnoFONO.jpg Banana leaves and VapoRub walk into a studio… - Platanofono vintage phones and plantains with resin lining dimensions variable 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1544339274122-ZB4OZ8B4JTZM36EW8SGR/PLATAnoFONO.jpg Banana leaves and VapoRub walk into a studio… - Platanofono vintage phones and plantains with resin lining dimensions variable 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1516895769348-RWEO0CIWAN6X0XNGLZFP/LOStresGOLPES.jpg Banana leaves and VapoRub walk into a studio… - Los Tres Golpes (The Three Bruises) oil on mixed media 3 x 2 feet each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1516895779524-TJVVYT0R07G2E7KDN0MQ/LOStresGOLPESdetail.jpg Banana leaves and VapoRub walk into a studio… - Los Tres Golpes (The Three Bruises) detail view oil on printed plastic, oil on sheetrock 3 x 2 feet each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1514652867809-AODMPWISPXT3TBGL2VW2/tostonesCONbologna.jpg Banana leaves and VapoRub walk into a studio… - Tostones con Bologna Diptych 2017 oil on commercial print; oil on contact paper 24 x 36 in. each https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1514599817921-G9FHNK800N6IDXM5AN3F/AFTERyvesKLEINwall.jpg Banana leaves and VapoRub walk into a studio… - Untitled, Anthropometry Series (after Yves Klein) 2017 petrolatum on banana leaves dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1485447329256-8BNWDI4VPA0QG0AJ7N1N/Naar-Onel-02.jpg Banana leaves and VapoRub walk into a studio… - Derbi 2017 yucca and epoxy resin on found commercial print 24 x 18 inches “Derbi” takes its title from the headline of the printed Portuguese newspaper seen along the lower surface. This piece like "Eye Level (after Stuart Davis)" has a wooden frame wrapped in resined banana leaves. Yucca (cassava) is peeled, shaved, ground, and mixed with resin and plastered onto a collage of corroded Spanish and Portuguese magazine ads that speak to my fascination with printed media and urban blight. I looked to Chris Ofili’s elephant dung paintings in working with yucca to evoke the painterly. “Derbi” is part of the series “Whitlock and 165th” wherein materials commonly found in Afro-Caribbean kitchens, the urban bodegas of the Dominican diaspora and subway platforms are used. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1485447439532-ZQJAZCXMUK1LH2QJAQR0/Naar-Onel-03.jpg Banana leaves and VapoRub walk into a studio… - A Yucca Diptych (Derbi) detail 2016 yucca and epoxy resin on found commercial print 1.5 x 2 feet https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1486700717878-C1LVIMO9DKWAU4ACSMVJ/A_VIEW+1a.gif Banana leaves and VapoRub walk into a studio… - A Tempest Diptych (after Leonardo da Vinci) detail gandules and epoxy resin on found commercial print 112 x 48 inches 2016 "A Tempest Diptych (after Leonardo da Vinci)" is made up of 2 panels, 56 x 48 inches each. Gandules or pigeon peas are boiled, mashed and mixed with resin and plastered onto a collage of corroded Spanish and English magazine ads that speak to my fascination with printed media and urban blight. "A Tempest Diptych (after Leonardo da Vinci)" is part of the series “Whitlock and 165th” wherein materials commonly found in Afro-Caribbean kitchens, the urban bodegas of the Dominican diaspora and subway platforms are used. I looked to Chris Ofili’s elephant dung paintings in working with gandules to evoke the painterly. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1485447684244-NOJAQ77HS286HNCXS7A9/Naar-Onel-07.jpg Banana leaves and VapoRub walk into a studio… - The (New) School of Athens Diptych (after Raphael) Mixed media Dimensions variable 2016 In the installation “The New School of Athens (after Raphael)” there are two pivotal references, one ancient and monumental, the other modern and personal. I compiled 25 images of people caught posing like either Raphael’s Aristotle or his Plato figure from his famous painting. The larger images in this installation are of latino figures in politics, the arts and entertainment, Oscar de La Renta, Fidel Castro, Chino Moreno and Melissa MarkViverito. The installation is composed of newspaper clippings, monograph pages, trading cards, photos and inkjet prints. The inpiration for this piece came from a trip I made to the Dominican Consulate in Times Square NYC in 2015 to apply for Dominican citizenship. Prominently displayed over the service window in the waitingroom was a letter size inkjet color image of Oscar de la Renta who at that point had been dead for over a year. The waiting room was transformed into an unlikely sacred space once I caught sight of the celebrated designer’s image. It reminded me of visiting the Vatican for the first time and seeing the representations of prominent secular figures like Aristotle and Plato in a religious space. “The New School of Athens (after Raphael)” was exhibited in Lisbon, Portugal at the Roundabout.LX residency space in 2016. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1485447692263-4IVIFBGF4Y325WVOLN00/Naar-Onel-08.jpg Banana leaves and VapoRub walk into a studio… - Hypatia Diptych (after Raphael) 2016 digital c-print on Fujiflex .75 x 1 feet https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469153687740-1D8XP1W6835EOK7SIO0V/A-Tempest-Diptych-%28after-Leonardo-da-Vinci%29-installation-view.gif Banana leaves and VapoRub walk into a studio… - “A Tempest Diptych (after Leonardo da Vinci)” 2016 gandules and epoxy resin on found commercial print 4 x 9.5 feet   My work in this series is rooted in the desire to be emancipated from the gravitational pull of the intersecting forces of religious traditions, political ideologies, and consumer culture. I sublimate this desire into artistic practice by peeling, grinding and shaving organic and processed materials — like viandas, gandules, and El Diario— typically found in Afro-Caribbean kitchens and inner city bodegas. Through this ritual I endeavor to create objects that liberate these quotidian materials of my youth from their intended functions, cultural histories and commercial values. The polarizing nature of painting in the avant-garde makes this an ideal medium for an exploration of questions concerning identity displacement, morality and self-preservation. This series includes, “A Tempest Diptych (after Leonardo da Vinci)”, "Eye Level (after Stuart Davis)" and "Sandwich Cubano". My work in this series is rooted in the desire to be emancipated from the gravitational pull of the intersecting forces of religious traditions, political ideologies, and consumer culture. I sublimate this desire into artistic practice by peeling, grinding and shaving organic and processed materials — like viandas, gandules, and El Diario— typically found in Afro-Caribbean kitchens and inner city bodegas. Through this ritual I endeavor to create objects that liberate these quotidian materials of my youth from their intended functions, cultural histories and commercial values. The polarizing nature of painting in the avant-garde makes this an ideal medium for an exploration of questions concerning identity displacement, morality and self-preservation. This series includes, “A Tempest Diptych (after Leonardo da Vinci)”, "Eye Level (after Stuart Davis)" and "Sandwich Cubano".   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1485447645520-FMA394C68AP1PON3GAXL/Naar-Onel-04.jpg Banana leaves and VapoRub walk into a studio… - A Tempest Diptych (after Leonardo da Vinci) 2016 gandules and epoxy resin on found commercial print 4 x 9.5 feet https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1485447658918-4UR586SLAULX5H3XCOMC/Naar-Onel-05.jpg Banana leaves and VapoRub walk into a studio… - A Tempest Diptych (after Leonardo da Vinci) detail 2016 gandules and epoxy resin on found commercial print 4 x 9.5 feet https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469321284471-DYS15DJY8HW9MD8TQET6/Eye-Level-%28after-Stuart-Davis%29-installation-view.jpg Banana leaves and VapoRub walk into a studio… - ​“Eye Level (after Stuart Davis)” Yucca and epoxy resin on found billboard advertisements; banana leaves and epoxy resin on wood 49¼ x 37¾ x 2½ in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477877908537-FPB9UIYR7QSHKUQJN3GZ/SCHOOLofATHENSidetail%2B1.jpg Banana leaves and VapoRub walk into a studio… - "The (New) School of Athens (after Raphael)" detail Roundabout.LX residency, Lisbon, Portugal Mixed media Dimensions variable 2016 In the installation “The New School of Athens (after Raphael)” there are two pivotal references, one ancient and monumental, the other modern and personal. I compiled 25 images of people caught posing like either Raphael’s Aristotle or his Plato figure from his famous painting. The larger images in this installation are of latino figures in politics, the arts and entertainment, Oscar de La Renta, Fidel Castro, Chino Moreno and Melissa MarkViverito. The installation is composed of newspaper clippings, monograph pages, trading cards, photos and inkjet prints. The inpiration for this piece came from a trip I made to the Dominican Consulate in Times Square NYC in 2015 to apply for Dominican citizenship. Prominently displayed over the service window in the waitingroom was a letter size inkjet color image of Oscar de la Renta who at that point had been dead for over a year. The waiting room was transformed into an unlikely sacred space once I caught sight of the celebrated designer’s image. It reminded me of visiting the Vatican for the first time and seeing the representations of prominent secular figures like Aristotle and Plato in a religious space. “The New School of Athens (after Raphael)” was exhibited in Lisbon, Portugal at the Roundabout.LX residency space in 2016. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1480818235194-00K0H60I6YLSEAIWQLSC/MOURNERone.png Banana leaves and VapoRub walk into a studio… - "Mourner One from The Dead Christ and Three Mourners (after Andrea Mantegna)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1543167152075-AH7PLHPSTTR22O7L9EWY/Naar-Onel-1.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481988131065-55NUW3IKPAS5AMVFTQIW/MOURNERthree.png Banana leaves and VapoRub walk into a studio… - "Mourner Two from The Dead Christ and Three Mourners (after Andrea Mantegna)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481990204459-VUFO91VDRGPO6V2MZ7ZJ/HYPATIAandTHEthreeFRIENDS.png Banana leaves and VapoRub walk into a studio… - "Hypatia and The Three Friends" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 10 x 8 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481991898723-JRCFMDUNNF1E4BZM6YY3/HYPATIAasAsiren.jpg Banana leaves and VapoRub walk into a studio… - "Hypatia as a Siren" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1484836015418-B2E18LIUG3IRBWOGI01O/Sandwich-Cubano.gif Banana leaves and VapoRub walk into a studio… - ​“Sandwich Cubano” Sand and rubber cement on printed plastic over wood 54 x 48 in. 2015 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481992093186-FL566KLYK00P5CIORQ3E/HYPATIAasAsiren.jpg Banana leaves and VapoRub walk into a studio… - "Hypatia as a Siren" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1480815195153-MZKNX31VKKIUNR5901U4/Naar_Onel_01.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1559352897693-3V2F0S6ZY4E46CCL4VLH/Colg%C3%A3o+Diptych.jpg Banana leaves and VapoRub walk into a studio… - Copy of Morir Soñando at the Knockdown Center https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1517450166881-C4CZ4OWWKPK94IWN0WXT/COLGAOdyptich.jpg Banana leaves and VapoRub walk into a studio… - Copy of "Colgão Diptych" Petrolatum on banana leaves 3x2 ft each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1617574989951-6W81983PFKC3H1AB679T/For+Your+Broken+Shin+%28after+Shakespeare%29+Final.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1550980982974-94DDKO8FNZFY2T4K65GH/SCHOOLofATHENSinstallationVIEW.jpg Banana leaves and VapoRub walk into a studio… - "The (New) School of Athens (after Raphael)" (Copy) Roundabout.LX residency, Lisbon, Portugal Mixed media Dimensions variable 2016 In the installation “The New School of Athens (after Raphael)” there are two pivotal references, one ancient and monumental, the other modern and personal. I compiled 25 images of people caught posing like either Raphael’s Aristotle or his Plato figure from his famous painting. The larger images in this installation are of latino figures in politics, the arts and entertainment, Oscar de La Renta, Fidel Castro, Chino Moreno and Melissa MarkViverito. The installation is composed of newspaper clippings, monograph pages, trading cards, photos and inkjet prints. The inpiration for this piece came from a trip I made to the Dominican Consulate in Times Square NYC in 2015 to apply for Dominican citizenship. Prominently displayed over the service window in the waitingroom was a letter size inkjet color image of Oscar de la Renta who at that point had been dead for over a year. The waiting room was transformed into an unlikely sacred space once I caught sight of the celebrated designer’s image. It reminded me of visiting the Vatican for the first time and seeing the representations of prominent secular figures like Aristotle and Plato in a religious space. “The New School of Athens (after Raphael)” was exhibited in Lisbon, Portugal at the Roundabout.LX residency space in 2016. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704051086978-2S80SJKGBJIEFSAPK09D/image-asset.jpeg Banana leaves and VapoRub walk into a studio… enamel on drywall and custom wood panel 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1480820397434-BDRMSQJWSDMVI7GR2FM5/MOURNERthreeBLURcropped.png Banana leaves and VapoRub walk into a studio… - "Mourner Three from The Dead Christ and Three Mourners (after Andrea Mantegna)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792247000-IQE408MA9LVT8IUBP2M9/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - The Cross Bronx (Copy) enamel on drywall and custom wood panel 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1708792247000-IQE408MA9LVT8IUBP2M9/image-asset.jpeg Banana leaves and VapoRub walk into a studio… - The Cross Bronx (Copy) enamel on drywall and custom wood panel 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1748647640864-GQXVZAUW55VV3XWHU4J7/MansasMusasTriptych2025greyWeb.jpg Banana leaves and VapoRub walk into a studio… - Musas Mansas (Copy) enamel on drywall and custom wood panel 48 × 108 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477251512887-NVNKN1JZWMAHCVTKD5ZL/THEgynicoefficientPAGEone.jpg Banana leaves and VapoRub walk into a studio… https://static1.squarespace.com/static/5783a6b703596e5098f34e57/5783aa841b631b1a87b996d4/578d525459cc687120f96596/1761851737657/ Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477876373359-V4SWJBEDJT5YT2YYA4QL/Mourner+2+%28after+Andrea+Mantegna%29.png Banana leaves and VapoRub walk into a studio… - "Mourner 2" from "The Dead Christ and Three Mourners (after Andrea Mantegna)" C-Print 11"x14" 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1514598191106-XX50DBB5SDJRSPDVKER1/AFTERyvesKLEINwall.jpg Banana leaves and VapoRub walk into a studio… - Untitled, Anthropometry (after Yves Klein) 2017 petrolatum on banana leaves dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469055997110-O69M2X0FPPMMB8FTULP1/E2.jpg Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477622162107-3AO33SIG7WDUOPGJKSZP/THEnewSCHOOLofATHENSafterRAPHAELpageONEb.png Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477614008986-EJ0BW7JLHF2TBR6VJC24/THEnewSCHOOLofATHENSafterRAPHAEL.png Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477612785119-10102YX1WR2B2SQ1CH4J/THEnewSCHOOLofATHENSafterRAPHAEL.png Banana leaves and VapoRub walk into a studio… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477786997176-2G5EB6DZ4EHLAHDVK8WW/Mourner+2+%28after+Andrea+Mantegna%29.png Banana leaves and VapoRub walk into a studio… - "Mourner 2" from "The Dead Christ and Three Mourners (after Andrea Mantegna)" C-Print 20"x16" 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477613929947-JL6KBUTA6X0696NVHNWK/THEnewSCHOOLofATHENSafterRAPHAEL.png Banana leaves and VapoRub walk into a studio… http://www.onelnaar.com/new-gallery-3 daily 0.75 2016-12-17 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477609124096-G2SUR4WIF8ZUPE4P3Z1B/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+installation+view.png The Gynicoefficient - “A Tempest Diptych (after Leonardo da Vinci)” Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477609124096-G2SUR4WIF8ZUPE4P3Z1B/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+installation+view.png The Gynicoefficient - “A Tempest Diptych (after Leonardo da Vinci)” Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477609235988-M8BXZAFWHX47UJL7U541/THEgynicoefficientPAGEone%28FINAL%29.png The Gynicoefficient https://static1.squarespace.com/static/5783a6b703596e5098f34e57/5812803be3df2855ef1440eb/581280afe3df2855ef144884/1477607599479/ The Gynicoefficient https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477616412822-9XURD6X9QA019J5P1KKB/2%29+A-Tempest-Diptych-%28after-Leonardo-da-Vinci%29-detail+10.59.23+PM.gif The Gynicoefficient - “A Tempest Diptych (after Leonardo da Vinci)” detail Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477711491012-IFZHO72D520LK8F5VZ4Z/Eye-Level-%28after-Stuart-Davis%29-installation-view.jpg The Gynicoefficient - ​“Eye Level (after Stuart Davis)” Yucca and epoxy resin on found billboard advertisements; banana leaves and epoxy resin on wood 49¼ x 37¾ x 2½ in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477711726385-XBJSIJ1873YX5V8PKAQ9/4%29+Eye-Level-%28after-Stuart-Davis%29-angled-view+10.59.23+PM.gif The Gynicoefficient - ​“Eye Level (after Stuart Davis)” angled view Yucca and epoxy resin on found billboard advertisements; banana leaves and epoxy resin on wood 49¼ x 37¾ x 2½ in. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477754668993-K3JU0DBQRYO7WW58IN6K/5%29+Derbi+10.59.23+PM.gif The Gynicoefficient - “Derbi” Yucca and epoxy resin on found commercial print 24 x 18 in. 2016   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477608953084-6WJXKWWUHFECBBUEF9IH/1%29+A-Tempest-Diptych-%28after-Leonardo-da-Vinci%29-installation-view.gif The Gynicoefficient http://www.onelnaar.com/new-gallery-2 daily 0.75 2016-12-17 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477967038850-VJSNULD96H2RB6PFAG01/Hypatia1.png The (New) School Of Athens (after Raphael) - "Hypatia 1" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477967038850-VJSNULD96H2RB6PFAG01/Hypatia1.png The (New) School Of Athens (after Raphael) - "Hypatia 1" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477852267879-EDT2QWLQZKWGL1D3KAKD/hypatia2.png The (New) School Of Athens (after Raphael) - "Hypatia 2" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477967737799-ATZOARY0IUKA4J6TOKHJ/Hypatia3.png The (New) School Of Athens (after Raphael) - "Hypatia 3" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477967900168-99D7Z6P9B5KXGL6L1EPB/Hypatia+%284%29.png The (New) School Of Athens (after Raphael) - "Hypatia 4" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 11 x 7 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477964766537-O4AOA7AQ5T5OE89Q2MKO/hypatia5.png The (New) School Of Athens (after Raphael) - "Hypatia 5" from "The (New) School Of Athens (after Raphael)" Fujiflex Digital C-Print 10 x 8 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477964575555-VYX79N4YDFZI7BHSQ9ZX/SCHOOLofATHENSinstallationVIEW.jpg The (New) School Of Athens (after Raphael) - "The (New) School of Athens (after Raphael)" Mixed media Dimensions variable 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477964974761-IFDUN8EJS7RYHN4D09XE/SCHOOLofATHENSidetail%2B1.jpg The (New) School Of Athens (after Raphael) - "The (New) School of Athens (after Raphael)" detail Mixed media Dimensions variable 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477755068382-7ZXD0LBSLDBUH77CK4GE/6%29+Circumflex-Tilde-Breakadawn+10.59.23+PM.gif The (New) School Of Athens (after Raphael) - “Circumflex Tilde Breakadawn” Gandules, epoxy resin and acrylic paint on found commercial print; yucca and epoxy resin; found commercial print and epoxy resin on wood 29¼ x 23 x 2¼ in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477755676896-3DF4R3BVIIRJGMENPATT/7%29+Sandwich-Cubano+10.59.23+PM.gif The (New) School Of Athens (after Raphael) - “Sandwich Cubano” Sand and rubber cement on printed plastic over wood 54 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1478041411255-IHELA6XR94CW29UU4RVG/BELIEVEinstallationshot.jpg The (New) School Of Athens (after Raphael) - "Babylon the Great..." Rush Arts Gallery installation view Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1478041162699-4ZJE5P57Z2F5RV6CLBXZ/installationshotrush+copy.png The (New) School Of Athens (after Raphael) - "Babylon the Great..." Rush Arts Gallery installation view Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1478048004466-JLBFBN035S01SXQIGVKS/AVERROESdetail.png The (New) School Of Athens (after Raphael) - "Babylon the Great..." detail Digital C-Print Dimensions variable 2006 http://www.onelnaar.com/josephine-baker-iii-after-alexander-calder daily 0.75 2016-12-17 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469200546433-2294GQHYQIWU564M14R3/Hang-Up-%28after-Eva-Hesse%29.gif Josephine Baker at Calder's Circus (after Alexander Calder) - “Hang Up (after Eva Hesse)” Vicks VapoRub on copper wire; banana leaves and epoxy resin over wood 26 ¾ x 21 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469200546433-2294GQHYQIWU564M14R3/Hang-Up-%28after-Eva-Hesse%29.gif Josephine Baker at Calder's Circus (after Alexander Calder) - “Hang Up (after Eva Hesse)” Vicks VapoRub on copper wire; banana leaves and epoxy resin over wood 26 ¾ x 21 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469200588172-ZJDDZ2CQ4HH28BDNKN4F/La-Fiesta-de-Pilito-%28A-Comer-Pasteles%2C-Comer-Lechon%29.gif Josephine Baker at Calder's Circus (after Alexander Calder) - “La Fiesta de Pilito (A Comer Pasteles, Comer Lechon)” Banana leaves and epoxy resin on wood 36 x 24 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477609640844-GA72W1NM089SUUII8BO4/JOSEPHINEbakerPAGEone.png Josephine Baker at Calder's Circus (after Alexander Calder) https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1469200597173-F4VYD0IKSTRMWRKEZKJK/Mandioca-Blossoms.gif Josephine Baker at Calder's Circus (after Alexander Calder) - ​“Mandioca Blossoms” Yucca and epoxy resin on latex over wood 36 x 24 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477749717058-J8S046Y0LHU42DKBRUSO/MANcropped.png Josephine Baker at Calder's Circus (after Alexander Calder) https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477751553099-EYD5ABPCNYB3RTWP30D3/WOMAN.png Josephine Baker at Calder's Circus (after Alexander Calder) https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477751696120-GHBRJKPJKJ5LDOZ1ADWF/%E2%80%9CTodav%C3%ADa+No+%28after+Eva+Hesse%29%E2%80%9D+.png Josephine Baker at Calder's Circus (after Alexander Calder) https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477789297214-7ICMNS0BOJWPUFNI89SG/EXITweepingAFTERdavidSALLE.png Josephine Baker at Calder's Circus (after Alexander Calder) - "Exit Weeping" (after David Salle) Steel Clothesline Pole, latex, wire ties, clothes pins, rope and lentils Dimensions variable 2003 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477767802624-NCINMDZJEYO2M5V4IDDE/theDELUGE%28afterMICHELANGELO%29.jpg Josephine Baker at Calder's Circus (after Alexander Calder) - The Flood (after Michelangelo) 11"x14" C-Print 2003 http://www.onelnaar.com/new-gallery-1 daily 0.75 2016-10-27 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477580932516-60DIT8BX3I53ETKN5C45/SCHOOLofATHENSinstallationVIEWtake3.jpg The (New) School of Athens (after Raphael) - The (New) School of Athens (after Raphael) The (New) School of Athens (after Raphael) Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1477580932516-60DIT8BX3I53ETKN5C45/SCHOOLofATHENSinstallationVIEWtake3.jpg The (New) School of Athens (after Raphael) - The (New) School of Athens (after Raphael) The (New) School of Athens (after Raphael) Mixed media Dimensions variable http://www.onelnaar.com/installationperformance daily 0.75 2026-01-30 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1769797865484-JIDS9YHW4R2JTFYW58X4/IMG_6920.jpeg Wilting abuelitas… - Corazon Partido pochoir print with enamel on paper and pressed gypsum 48 × 108 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1769797865484-JIDS9YHW4R2JTFYW58X4/IMG_6920.jpeg Wilting abuelitas… - Corazon Partido pochoir print with enamel on paper and pressed gypsum 48 × 108 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761358101404-QRBBVA74O95FMLRGCR71/image-asset.jpeg Wilting abuelitas… Colgão (Day 1) “Morir Soñando” at the Knockdown Center, Maspeth, NY Vicks VapoRub on plantain leaves and wood 96 x 60 inches 2018 "Colgao (Hang Up)" was exhibited for a 2018 show at the Knockdown Center in Maspeth, curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming”. The plantain leaves used in the piece were intentionally not preserved and throughout the course of the exhibition slowly wilted away. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. Colgão (Hang Up) is the third installation of a series of 4 works in the Colgão series. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704155742592-ZMA80SFAH7WEY24N2ZUA/KDC+1.jpg Wilting abuelitas… Colgão (Day 1) Morir Soñando at the Knockdown Center 60 x 96 inches mentholated petrolatum on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704251188007-Q2HO8R1R5MLQ1YZ732A8/KDC+3.jpg Wilting abuelitas… Colgão (Day 1) Morir Soñando at the Knockdown Center 60 x 96 inches mentholated petrolatum on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704250804724-GTTKBQ8W1GOSY3GVA9OR/KDC+2.jpg Wilting abuelitas… Colgão (Day 1-detail) Morir Soñando at the Knockdown Center 60 x 96 inches mentholated petrolatum on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704366799590-SE75ZLDO3RVD0WLNRGWU/05_Colgao.jpg Wilting abuelitas… Colgão (Day 3) Morir Soñando at the Knockdown Center 60 x 96 inches each mentholated petrolatum on plantain leaves 2018 The use of petrolatum alongside banana leaves stems from an interest in the placebo quality of products like Vicks VapoRub and how they have been integrated into Caribbean culture the way banana leaves have. The title of the piece comes from the cibaeño pronunciation of the Spanish word for "hanging". El Cibão is a rural region in the northern part of the Dominican Republic known for its agriculture. I grew up watching the women in my family use plantain leaves to cook. They were used to add flavor and keep foods moist, always discarded once the meal was over. The leaves were cut to size, either to cover an entire pot of rice or to the individual portions size of pasteles which are the Caribbean equivalent to Mexican tamales. Pasteles, like tamales, are laborious and much prized delicacies, thus their production is a cottage industry that started in Puerto Rico and spread to their confusingly non-immigrant diaspora in NYC. In Colgão I monumentalize the organic wrapper by enlarging it almost 10 times. This final version of “Colgão” does not rely on physical engagement on the part of the viewer to be a complete work like earlier versions. However, viewers still have the option of scooping up, pushing in or smudging the organic medium with their hands across the slippery surface of banana leaves. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704421905493-AV14FYWZK3GX6ORQDA67/Colg%C3%A3o+final+Day+60.jpg Wilting abuelitas… Colgão (Day 60) “Morir Soñando” at the Knockdown Center 60 x 96 inches each mentholated petrolatum on plantain leaves 2018 "Colgao (Hang Up)" was exhibited for a 2018 show at the Knockdown Center in Maspeth, curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming”. The plantain leaves used in the piece were intentionally not preserved and throughout the course of the exhibition slowly wilted away. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. Colgão (Hang Up) is the third installation of a series of 4 works in the Colgão series. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704422724183-KOSNR1LOH3F753P4WLRJ/Colg%C3%A3o+final+Day+60b.jpg Wilting abuelitas… Colgão (Day 60) Morir Soñando at the Knockdown Center 60 x 96 inches each mentholated petrolatum on plantain leaves 2018 Colgão (Day 1) "Colgao (Hang Up)" was exhibited for a 2018 show at the Knockdown Center in Maspeth, curated by Alex Santana entitled "Morir Soñando" which borrows its name from the popular Dominican beverage, and literally translates into the expression “to die dreaming”. The plantain leaves used in the piece were intentionally not preserved and throughout the course of the exhibition slowly wilted away. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Viewers have the option of scooping up, pushing in or smudging the medicinal medium with their hands across a slippery surface of plantain leaves. Colgão (Hang Up) is the third installation of a series of 4 works in the Colgão series. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704572934100-DJCJ509ECQYUA9KOQB1Z/SALSAstill.jpg Wilting abuelitas… Won’t Salsas Last Now Art Helix Gallery 2018 Documentation of performance. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704054677574-V68P393SBMXDIVMJ60AV/image-asset.jpeg Wilting abuelitas… Requiem for Salsa Pioneer at Art Helix Gallery Performance with lectern, Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2018 Documentation of a performance of an original requiem for Salsa music written and recited in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704512600704-G6ZTGOO0WG7WWHJQ1GW7/Art+Helix+Artist+Talk.jpg Wilting abuelitas… Performance and Artist Talk at Art Helix Gallery 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761359439138-F9MZFPQDEYCXQ7BZMSOV/image-asset.jpeg Wilting abuelitas… A Leaf Outta Drywall Triptych Your Home Is My Home at Dineen Hull Gallery drywall, pigmented plaster, mentholated petrolatum, printed plastic bag, banana leaves, resin, wood, acrylic frame and printed vinyl dimensions variable 2022 I revisit my parents’ humble beginnings as unskilled workers living in the South Bronx of the 1970s against the backdrop of urban blight and the origins of hip hop with imagery intended to evoke the interior and exterior spaces of inner-city tenement houses. The triptych was intentionally created in tandem with the construction of a luxury apartment building in a gentrified area of Jersey City during a housing crisis. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704572960280-41IOJHSIFNLBVN24WEXM/HCCtalk.jpg Wilting abuelitas… Artist Talk for Your Home Is My Home at Dineen Hull Gallery 2022 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706236507099-W942U8JQ4F02ZCVYC462/DRYwallLEAF.jpg Wilting abuelitas… A Leaf Outta Drywall Triptych (detail) Your Home Is My Home at Dineen Hull Gallery drywall, pigmented plaster, mentholated petrolatum, printed plastic bag, banana leaves, resin, wood, acrylic frame and printed vinyl dimensions variable 2022 I revisit my parents’ humble beginnings as unskilled workers living in the South Bronx of the 1970s against the backdrop of urban blight and the origins of hip hop with imagery intended to evoke the interior and exterior spaces of inner-city tenement houses. The triptych was intentionally created in tandem with the construction of a luxury apartment building in a gentrified area of Jersey City during a housing crisis. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706405948138-TZC7UMFBSQT3AG4FN8H4/03_Roc_Da_Mic.jpg Wilting abuelitas… Roc Da Mic Trestle Art Space Residency mentholated petrolatum on digital c-print and acrylic frame 2018 8 x 12 x 2 inches The thick film of mentholated petrolatum frosted on top of the surface in “Roc Da Mic ” provides the viewer with the option of scooping up, pushing in or smudging the organic medium with their hands across the duraflex print it sits on. However, the work is considered complete independent of physical interaction on the part of the audience. The option to interact with the piece is meant to appeal to the viewer’s own agency. Petrolatum based products like Vicks VapoRub and Vaseline serve as my primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. "Rock da Mic" was created by pouring a 1/4 inch thick layer of mentholated petrolatum directly onto a duraflex print of a microphone. Once dried some of the medium was removed by my finger to expose the image of the microphone at the center. The duraflex print sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706237646483-8SFG3YATU6AEWQNCAVO3/IMG_1343.JPG Wilting abuelitas… Roc Da Mic Trestle Art Space Residency mentholated petrolatum on digital c-print and acrylic frame 2018 8 x 12 x 2 inches The thick film of mentholated petrolatum frosted on top of the surface in “Roc Da Mic ” provides the viewer with the option of scooping up, pushing in or smudging the organic medium with their hands across the duraflex print it sits on. However, the work is considered complete independent of physical interaction on the part of the audience. The option to interact with the piece is meant to appeal to the viewer’s own agency. Petrolatum based products like Vicks VapoRub and Vaseline serve as my primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. "Rock da Mic" was created by pouring a 1/4 inch thick layer of mentholated petrolatum directly onto a duraflex print of a microphone. Once dried some of the medium was removed by my finger to expose the image of the microphone at the center. The duraflex print sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706407345127-C79NE3R8GTAXDO2KXC1D/Julie3.jpg Wilting abuelitas… Roc Da Mic Trestle Art Space Residency mentholated petrolatum on digital c-print and acrylic frame 2018 8 x 12 x 2 inches The thick film of mentholated petrolatum frosted on top of the surface in “Roc Da Mic ” provides the viewer with the option of scooping up, pushing in or smudging the organic medium with their hands across the duraflex print it sits on. However, the work is considered complete independent of physical interaction on the part of the audience. The option to interact with the piece is meant to appeal to the viewer’s own agency. Petrolatum based products like Vicks VapoRub and Vaseline serve as my primary medium. I am interested in the placebo quality of these products and how they have been integrated into Caribbean culture. "Rock da Mic" was created by pouring a 1/4 inch thick layer of mentholated petrolatum directly onto a duraflex print of a microphone. Once dried some of the medium was removed by my finger to expose the image of the microphone at the center. The duraflex print sits in an acrylic frame cushioned by a 1/2 inch of mentholated petrolatum. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1705882872602-X5JUJ3AUSKYLA1NQK5GO/Pioneer6.jpg Wilting abuelitas… Antropometria (after Yves Klein) Pioneer at Art Helix Gallery viewer engaging with Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 Exhibited in 2017 for “Pioneer” at Art Helix Gallery, Colgão, Antropometria (after Yves Klein) is the second installation of a series of 4 works in the Colgão series. Viewers are invited to pick up plastic syringes filled with Vicks VapoRub and use them to draw on the plantain leaves hanging on the wall. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Materials that are commonly used in healthcare are repurposed in this work to highlight the relationship that can exist between the nature of the placebo effect and creativity. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1705863300777-D9ADNOE82V9RGRKEBJW3/Pioneer5.jpg Wilting abuelitas… Antropometria (after Yves Klein) Pioneer at Art Helix Gallery viewer engaging with Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 Exhibited in 2017 for “Pioneer” at Art Helix Gallery, Colgão, Antropometria (after Yves Klein) is the second installation of a series of 4 works in the Colgão series. Viewers are invited to pick up plastic syringes filled with Vicks VapoRub and use them to draw on the plantain leaves hanging on the wall. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Materials that are commonly used in healthcare are repurposed in this work to highlight the relationship that can exist between the nature of the placebo effect and creativity. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1705882850540-S03L9ZTBFUDPSLJEG6IS/Pioneer7.jpg Wilting abuelitas… Antropometria (after Yves Klein) detail Pioneer at Art Helix Gallery viewer engaging with Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 Exhibited in 2017 for “Pioneer” at Art Helix Gallery, Colgão, Antropometria (after Yves Klein) is the second installation of a series of 4 works in the Colgão series. Viewers are invited to pick up plastic syringes filled with Vicks VapoRub and use them to draw on the plantain leaves hanging on the wall. The use of Vicks VapoRub in this piece stems from an interest in the placebo quality of this product and how it has been integrated into Caribbean culture. Materials that are commonly used in healthcare are repurposed in this work to highlight the relationship that can exist between the nature of the placebo effect and creativity. https://static1.squarespace.com/static/5783a6b703596e5098f34e57/6591ce03b49ec07f4b9a89e8/697cf8b488001a635f26d693/1769797812739/ Wilting abuelitas… http://www.onelnaar.com/performance-1 daily 0.75 2025-10-31 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704155742592-ZMA80SFAH7WEY24N2ZUA/KDC+1.jpg Morse code prose… Urban Jíbaro-Campesino “Morir Soñando” at the Knockdown Center, Maspeth, NY Performance 2018 The eight-piece ensemble, Urban Jíbaro-Campesino was exhibited at the opening reception for a show at the Knockdown Center in Maspeth curated by Alex Santana. The outfit included a straw hat, Yankees memorabilia, a Vicks VapoRub pin and a guayabera. Exhibited alongside an installation work made with plantain leaves and mentholated petrolatum, Urban Jíbaro-Campesino is part of a larger multidisciplinary project that includes a spoken word piece performed earlier that year in the style of the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704155742592-ZMA80SFAH7WEY24N2ZUA/KDC+1.jpg Morse code prose… Urban Jíbaro-Campesino “Morir Soñando” at the Knockdown Center, Maspeth, NY Performance 2018 The eight-piece ensemble, Urban Jíbaro-Campesino was exhibited at the opening reception for a show at the Knockdown Center in Maspeth curated by Alex Santana. The outfit included a straw hat, Yankees memorabilia, a Vicks VapoRub pin and a guayabera. Exhibited alongside an installation work made with plantain leaves and mentholated petrolatum, Urban Jíbaro-Campesino is part of a larger multidisciplinary project that includes a spoken word piece performed earlier that year in the style of the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761427341787-THX9FTCAF341SAYG44XQ/KDC+3.jpg Morse code prose… Urban Jíbaro-Campesino “Morir Soñando” at the Knockdown Center, Maspeth, NY Performance 2018 The eight-piece ensemble, Urban Jíbaro-Campesino was exhibited at the opening reception for a show at the Knockdown Center in Maspeth curated by Alex Santana. The outfit included a straw hat, Yankees memorabilia, a Vicks VapoRub pin and a guayabera. Exhibited alongside an installation work made with plantain leaves and mentholated petrolatum, Urban Jíbaro-Campesino is part of a larger multidisciplinary project that includes a spoken word piece performed earlier that year in the style of the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704250804724-GTTKBQ8W1GOSY3GVA9OR/KDC+2.jpg Morse code prose… Urban Jíbaro-Campesino “Morir Soñando” at the Knockdown Center, Maspeth, NY Performance 2018 The eight-piece ensemble, Urban Jíbaro-Campesino was exhibited at the opening reception for a show at the Knockdown Center in Maspeth curated by Alex Santana. The outfit included a straw hat, Yankees memorabilia, a Vicks VapoRub pin and a guayabera. Exhibited alongside an installation work made with plantain leaves and mentholated petrolatum, Urban Jíbaro-Campesino is part of a larger multidisciplinary project that includes a spoken word piece performed earlier that year in the style of the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761431134999-B5NC764HJ4GOS1T5AHNL/image-asset.jpeg Morse code prose… Won’t Salsas Last Now Art Helix Gallery Performance with lectern, Vicks VapoRub on plantain leaves and Vicks VapoRub filled syringes on wooden shelf 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1704512600704-G6ZTGOO0WG7WWHJQ1GW7/Art+Helix+Artist+Talk.jpg Morse code prose… M.E.N.T.H.O.L Art Helix Gallery Performance 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1705976262437-6ZLDU59GQDI2HRG99NRM/SHIMday1.jpg Morse code prose… Colgáo Study Invitational 3 at Art Helix Gallery Performance with plantain leaves and mentholated petrolatum https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1705859482133-T2HW8QIO2J1M8JUMSRVX/Screenshot+2024-01-15+at+5.31.18+PM.png Morse code prose… Won’t Salsas Last Now Art Helix Gallery 2018 Requiem for Salsa music written and recited by the artist in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706149594195-V9BAKWTC1RN7EQ5DO0P2/image-asset.png Morse code prose… Won’t Salsas Last Now Art Helix Gallery 2018 Requiem for Salsa music written and recited by the artist in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1705860025180-7I7BOD4AU7J8JTN27OA0/Screenshot+2024-01-15+at+5.30.20+PM.png Morse code prose… Won’t Salsas Last Now Art Helix Gallery 2018 Requiem for Salsa music written and recited by the artist in the form of the poetic prose popular amongst the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706148904745-FYESSS18HB9E7TMMZ4H5/SALSAstill.jpg Morse code prose… Won’t Salsas Last Now Reversibility 101 at Art Helix Gallery performance 2018 Salsa Dance performance inspired by Barry Duncan's palindrome "Won't Salsas Last Now". Part of a larger multidisciplinary project that includes a spoken word piece performed the same day in the style of the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706148944006-QNPGQ28ECIYFFI729EYY/SALSAstill2.jpg Morse code prose… Won’t Salsas Last Now Reversibility 101 at Art Helix Gallery performance 2018 Salsa Dance performance inspired by Barry Duncan's palindrome "Won't Salsas Last Now". Part of a larger multidisciplinary project that includes a spoken word piece performed the same day in the style of the Nuyorican poets of the 60s and 70s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1706149377965-AFJ2Y9K6DR1QEBJ69J9B/SALSAstill3.jpg Morse code prose… Won’t Salsas Last Now Reversibility 101 at Art Helix Gallery performance 2018 Salsa Dance performance inspired by Barry Duncan's palindrome "Won't Salsas Last Now". Part of a larger multidisciplinary project that includes a spoken word piece performed the same day in the style of the Nuyorican poets of the 60s and 70s. http://www.onelnaar.com/painting-2 daily 1.0 2026-01-30 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1764470444603-UDX9GGC2I90OU4MRF3EM/EggboyPanel_1_Cropped.jpg King Belshazzar’s feast… - Corazon Partido 1 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1764470444603-UDX9GGC2I90OU4MRF3EM/EggboyPanel_1_Cropped.jpg King Belshazzar’s feast… - Corazon Partido 1 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1764470713627-90MBG0S67X0NF6PIWKMQ/EggboyPanel_2_Cropped.jpg King Belshazzar’s feast… - Corazon Partido 2 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1764470879415-RXRY8A68OT81OERDKHIJ/EggboyPanel_3_Cropped.jpg King Belshazzar’s feast… - Corazon Partido 3 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761761429253-8OGXZB0SAYORMGMHTF17/image-asset.jpeg King Belshazzar’s feast… - Corazon Partido 1 enamel on drywall and custom wood panel 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761761220974-J3A17C8NOUH276R78A0C/image-asset.jpeg King Belshazzar’s feast… - Corazon Partido 2 enamel on drywall and custom wood panel 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761768744058-64XL0F9LY80PJ2VHBD97/EggboyPanel_3.jpg King Belshazzar’s feast… - Corazon Partido 3 enamel on drywall and custom wood panel 36 × 48 inches 2025 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761845777189-3WQRZU06T0CNVUZZLGY3/MansasMusasTriptychPanel_1_2025.jpg King Belshazzar’s feast… - Musas Mansas 1 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761788817568-28IMZ9EMQ6Q71FRNSWEA/MansasMusasTriptychPanel_2_2025.jpg King Belshazzar’s feast… - Musas Mansas 2 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761845839238-YCZCHBDU99B9BQAWCL6D/MansasMusasTriptychPanel_3_2025.jpg King Belshazzar’s feast… - Musas Mansas 3 pochoir print with enamel on paper and pressed gypsum 36 × 48 inches 2024 With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses. Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building; others made from spilled liquor, food and even bodily fluids from the revelry of the night before. However, I work through the possible narrative of addiction, exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761870736107-X2S46ZOKYIQHPZP6ZOVF/06_The+Writing+On+The+Wall+%28Querida+Cristina%29.jpg King Belshazzar’s feast… - The Writing On The Wall (Querida Cristina) enamel paint and pigmented plaster on drywall and magazine pages. 48 x 36 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761870804614-70ZSHAOO4XHLAH0EZIE3/02_Back+Against+the+Wall+copy.jpg King Belshazzar’s feast… - Back Against the Wall 48 x 72 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761870764587-NL24UC1TUM8ED82JHDE1/01_The+Cross+Bronx+copy.jpg King Belshazzar’s feast… - Plans for the Cross Bronx pochoir print with enamel on paper, collage and pressed gypsum 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1769782874423-8T3X5RWNGCD4CGEVPGAQ/07_Insert+Coins+%28A+Ficha+Caiu%29+triptych.jpg King Belshazzar’s feast… - Insert Coins (A Fixa Caiu) Pochoir in oil and alkyd on newspaper, canvas and wood. 36 x 24 inches each 2023 The sinuous lines that crawl throughout these works were produced by an autonomous masking process I started experimenting with during my artist residency at Art Helix Gallery in Bushwick in 2017. Liquid latex is poured, dried, painted on and sometimes removed, leaving the ghostly trace of an improvised stencil evoking the random marks found in the public spaces of inner city neighborhoods. Growing up in the Bronx I remember marks like these around the interior and exterior spaces of tenement houses . Some of these marks were made by unskilled immigrant workers haphazardly providing maintenance to a rundown building ; others made from spilled liquor, food and vomit from the revelry of the night before. However, I work through the possible narrative of exploitation, violence, vandalism, and neglect behind these “urbanmorphic” shapes by painting them with a Kem-tone inspired color palette reminiscent of the mid century Merrie Melodie cartoons I grew up watching. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1769782898438-99NWBBKTY01QTLCVHHKS/05_Los+Tres+Golpes+1+%28Bergdorf+Bagwoman%29+triptych.jpg King Belshazzar’s feast… - Los Tres Golpes (Bergdorf Bag Lady) Pochoir in oil paint on found posters and printed vinyl with drywall, pigmented plaster and plastic bags. 36 x 24 inches each 2023 “Los Tres Golpes (Bergdorf Bag Lady)” was made using inexpensive construction materials and traditional art supplies to viscerally capture the disparity between my father’s life as an immigrant manual laborer and mine, a college graduate in the arts. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761770917680-BUQ7RXIP34T0TD3MNG6P/MansasMusasTriptych2025copy.jpg King Belshazzar’s feast… https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761873418139-MKFCIJO23JAUOJVDYHFV/The+Cross+Bronx+Detail._1.jpg King Belshazzar’s feast… - Plans for the Cross Bronx (detail) pochoir print with enamel on paper, collage and pressed gypsum 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761873418312-ZKTOQ83ZHHH77GV0EP1Q/The+Cross+Bronx+Detail._2.jpg King Belshazzar’s feast… - Plans for the Cross Bronx (detail) pochoir print with enamel on paper, collage and pressed gypsum 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761873544600-KMZ9700AOJRCS09096G2/The+Cross+Bronx+Detail._3.jpg King Belshazzar’s feast… - Plans for the Cross Bronx (detail) pochoir print with enamel on paper, collage and pressed gypsum 48 x 84 inches 2023 Construction materials used by my father throughout his career as a maintenance worker in tenement buildings, mostly in the Bronx, have been present in my practice for the past three years. With the support of the NYFA “Keep NYS Creating Project” grant I’ve incorporated drywall, pigmented plaster and enamel paint into my practice. My lack of experience using materials meant for building and repairing walls helped me to revisit my family’s humble beginnings as unskilled workers living in the South Bronx of the 1970s. https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1761873419212-LWEJDTWQK7TNYNCK8UW9/The+Cross+Bronx+Detail._3.jpg King Belshazzar’s feast… http://www.onelnaar.com/under-construction-1-1 daily 0.75 2016-12-16 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481815445251-2NY4YELY2ORTU1E93ME4/SCHOOLofATHENSinstallationVIEW Installation "The (New) School of Athens (after Raphael)" installation view Exhibited during a residency with Roundabout LX in Lisbon Portugal during the summer of 2016. Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481815616381-GAVIS0D89FA1631ZKYVY/SCHOOLofATHENSidetail%2B1.jpg Installation "The (New) School of Athens (after Raphael)" installation view Exhibited during a residency with Roundabout LX in Lisbon Portugal during the summer of 2016. Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481774408524-L0AV431V67X6LMDDLXR3/BELIEVEinstallationshot.jpg Installation "Babylon the Great..." Rush Arts Gallery installation view Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481774501671-26UGHT403Y8IP0A4SKP4/installationshotrush+copy.png Installation "Babylon the Great..." Rush Arts Gallery installation view Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481815230998-FU8AI6M49ARRB0EB452S/AVERROESdetail.png Installation "Babylon the Great..." detail Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481738707448-DOP97D5F3M6RVUN8RB0E/afterEVAhesseFINALcropped.png Installation "Todavía No (after Eva Hesse)" Lentils, latex and hardware Dimensions variable 2002 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481738133703-XAY6PMYHFXN678F0LT24/MANfinal.png Installation “Man” Marker on wall, Plate on wall, Latex tube on wall, Bicycle wheel on wall, Dimensions variable 2001   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481738610812-3XSGIK6TWHY77WS5K01T/WOMANfinal.png Installation “Woman” Rib, leaf, seed, vinegar in baby bottles. 2001 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481737994391-NW49I5D400ZKZAMLEP2C/DAVID%27SseedsCROPPEDcurves Installation "David's Seeds" Chicken blood on cotton, chicken blood on found doors, cotton on found doors, gesso on David Sunflower Seeds bag; wood studs and hardware Dimensions variable 2001 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481738080000-DOXGMFEXGTN0MBO7KLTS/DAVID%27SseedsDETAIL.png Installation "David's Seeds" detail Chicken blood on cotton, chicken blood on found doors, cotton on found doors, gesso on David Sunflower Seeds bag; wood studs and hardware Dimensions variable 2001 http://www.onelnaar.com/contact daily 0.75 2016-07-23 http://www.onelnaar.com/collage daily 0.75 2018-02-20 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519082934077-F4NYIGV1J0L7AUCEZVZW/Untitled%2C+Anthropometry+Diptych+%28after+Yves+Klein%29.jpg Painting Untitled, Anthropometry Diptych (after Yves Klein) petrolatum (Vicks VapoRub) on plantain leaves lined with resin 48 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519083002414-N0QEBJLRN56EVB0IZCHC/Colg%C3%A3o+Diptych.jpg Painting "Colgão Diptych" petrolatum (Vicks VapoRub) on plantain leaves lined with resin, 36 x 24 in. each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519083061533-86RS1EEJWX9ZWXZTCNDU/Colg%C3%A3o+Diptych+Detail.jpg Painting "Colgão Diptych" (detail) petrolatum (Vicks VapoRub) on plantain leaves lined with resin, 36 x 24 in. each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519083768554-EY3CCE2OPFP841X82NE2/LOStresGOLPES.jpg Painting Los Tres Golpes (The Three Bruises) oil on mixed media 36 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519083194300-IWJEODESZBOTD6ONW6TB/Bologna+Con+Tostones.jpg Painting "Tostones con Bologna" oil on printed contact paper, oil on printed newsprint 36 x 24 in. each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519083265343-4358PAWPZ4K8C6YNCBVM/Break+A+Crazy+Leg.jpg Painting "Break A Crazy Leg" oil on movie posters, oil on linoleum tiles 36 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519083297279-NKXIK5IOVX7GDNETH88F/Cara+De+Yo+No+Fui.jpg Painting "Cara de Yo No Fui" oil on printed plastic, oil on sheetrock 36 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519085332411-47S3QUZ7D0QDAVBGEGCI/DERBI_VIEW+1.jpg Painting “Derbi” Yucca and epoxy resin on found commercial print 24 x 18 in. 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519084425107-KLU61UFE5JA3ZNWN2PB1/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+installation+view.jpg Painting “A Tempest Diptych (after Leonardo da Vinci)” Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519084262047-U5K4NEH7ANFFKNC2ZER4/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+detail.jpg Painting “A Tempest Diptych (after Leonardo da Vinci)” detail Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519084597950-AK0FL5MVJDQPP4LGLDOQ/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+detail+2.jpg Painting “A Tempest Diptych (after Leonardo da Vinci)” detail Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519085029643-NNGV6E8NUS8L1JMPSEFF/Eye+Level+%28after+Stuart+Davis%29.jpg Painting “Eye Level (after Stuart Davis)” frontal and angled views Yucca and epoxy resin on found billboard advertisements; banana leaves and epoxy resin on wood 49¼ x 37¾ x 2½ in. 2016 http://www.onelnaar.com/new-page-2-1 daily 0.75 2020-01-27 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481948065647-4BMHMSW0ODF6PXX74H51/image-asset.gif Painting Study for Colgão 1 Banana leaves and epoxy resin on wood 36 x 24 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481948090178-J95GCW0K8LC2SQ7MS8UC/image-asset.gif Painting Study for Colgão 2 Vicks VapoRub on copper wire; banana leaves and epoxy resin over wood 26 ¾ x 21 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481948028881-FQXSN7RTCJ25PWV725U9/image-asset.gif Painting Study for Colgão 3 Yucca and epoxy resin on latex over wood 36 x 24 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481947973941-PX6HEI6UCYJGRJRIU34I/image-asset.gif Painting Study for Colgão 4 Sand and rubber cement on printed plastic over wood 54 x 48 in. 2016 http://www.onelnaar.com/new-page-2 daily 0.75 2017-01-19 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1484835779234-NUDK2XYEKTMAT957UM3G/unnamed.jpg Painting https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1484835819879-J0Z6Y15DE75J09EG4ZUS/image-asset.jpeg Painting "Colgão Diptych" Petrolatum on banana leaves 36"x60" 2017 http://www.onelnaar.com/new-page-1 daily 0.75 2018-02-20 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519161234376-573QEZ8SU6INPYUIQSRB/PERMISSIONslip2.jpg Installation Permission Slip Art Helix Gallery, NY 2/24/17-2/26/17 Onel Naar, norton, Shani Ha, Wilson Duggan, Joe Milo https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519150278118-SB0A8HOO47FPEJI3SPKG/SCHOOLofATHENSinstallationVIEW.jpg Installation "The (New) School of Athens (after Raphael)" installation view Roundabout LX, Lisbon, PT 8/21/16-8/30/16   http://www.onelnaar.com/curriculum-vitae daily 0.75 2018-02-19 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519059067373-J1CY52NT8K8EHJVS3YKI/CV.jpg Copy of Curriculum Vitae https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519059272261-8VC1BH3DO99MVM3MJRAU/CV.jpg Copy of Curriculum Vitae http://www.onelnaar.com/2017 daily 0.75 2018-02-20 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519160821751-SKO4WCA304JUNZLTUXWI/DERBI_VIEW+1.jpg 2017 “Derbi” Yucca and epoxy resin on found commercial print 24 x 18 in. 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519152294288-AN06GVKXZ834EH5QFKMH/Permission+Slip.jpg 2017 Permission Slip 2/24/17-2/26/17 Art Helix Gallery Onel Naar, norton, Shani Ha, Wilson Duggan, Joe Milo   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519161975850-13P0HLB3OVRJ18WJ2XDB/Colg%C3%A3o+Diptych.jpg 2017 "Colgão Diptych" petrolatum (Vicks VapoRub) on plantain leaves lined with resin, 36 x 24 in. each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519162139427-2CXA217TJKXLGWTHTGYF/Colg%C3%A3o+Diptych+Detail.jpg 2017 "Colgão Diptych" detail petrolatum (Vicks VapoRub) on plantain leaves lined with resin, 36 x 24 in. each 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519160509465-ROOSTBYGMMY0DZNMNUWF/PERMISSIONslip2.jpg 2017 Permission Slip 2/24/17-2/26/17 Art Helix Gallery Onel Naar, norton, Shani Ha, Wilson Duggan, Joe Milo   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519162070667-770BX6Q9A8K3PH6ANFCP/PLATAnoFONO.jpg 2017 "Platanofono" vintage phones and plantains with resin lining dimensions variable 2017 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519085837545-DWADLA2TKLGGPKA4V47I/EMOTIONAL+STATE+13.jpg 2017 THE EMOTIONAL STATES OF AMERICA 12/5/17-12/8/17 Marcy Chevali/ Emily Clayton/ James Cullinane/ Gary Cullen/ Wilson Duggan/ Erik Hougen/ Daniel Kingery/ Onel Naar/ Bryan Osburn/ David Pierce/ Chad Stayrook/ Aaron Zimmerman https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519085861519-E0ND4GPI08F86AJ4SNX8/EMOTIONAL+STATE+02.jpg 2017 THE EMOTIONAL STATES OF AMERICA 12/5/17-12/8/17 Marcy Chevali/ Emily Clayton/ James Cullinane/ Gary Cullen/ Wilson Duggan/ Erik Hougen/ Daniel Kingery/ Onel Naar/ Bryan Osburn/ David Pierce/ Chad Stayrook/ Aaron Zimmerman   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1517525454148-ETQ3WEHK7553L0DOZIXT/CARAdeYOnoFUI.jpg 2017 "Tostones con Bologna" oil on printed contact paper, oil on printed newsprint 36 x 24 in. each 2017 http://www.onelnaar.com/2018 daily 0.75 2018-02-19 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519064009607-QRR2FCLKB5PGVXGIXVNQ/Requiem+for+Organs+Without+a+Body+%26+Untitled%2C+Anthropometry+Diptych+%28after+Yves+Klein%29.jpg 2018 Untitled, Anthropometry Diptych (after Yves Klein), Performance at Art Helix Gallery mixed media 48 x 24 in. each   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519064434885-6TGJ3E6XQ5AIZCJQ5OXC/Untitled%2C+Anthropometry+Diptych+%28after+Yves+Klein%29+detail.jpg 2018 Untitled, Anthropometry Diptych (after Yves Klein) viewers using plastic syringes containing petrolatum (Vicks VapoRub) on plantain leaves lined with resin 48 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519075053379-YE4WHYZLUNP9V6LDZKC9/Untitled%2C+Anthropometry+Diptych+%28after+Yves+Klein%29.jpg 2018 Untitled, Anthropometry Diptych (after Yves Klein) viewers using plastic syringes containing petrolatum (Vicks VapoRub) on plantain leaves lined with resin 48 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519063690963-RL6NAE76X513DDXCE32O/PIONEERshow1.jpg 2018 "Pioneer" 1/12/18-1/21/18 Art Helix Gallery Annie Bartholomew, Hyunjung Rhee, Chad Stayrook, Onel Naar   https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519063716141-H6RWTW16KM0LMEJ8YPPY/PIONEERshow2.jpg 2018 "Pioneer" 1/12/18-1/21/18 Art Helix Gallery Annie Bartholomew, Hyunjung Rhee, Chad Stayrook, Onel Naar https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519063608028-5PNBQEF9XH77G5LMHS6Q/LOStresGOLPES.jpg 2018 Los Tres Golpes (The Three Bruises) oil on mixed media 36 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519063266138-NGCW4HUWXB9EDBH6SQQ6/Break+A+Crazy+Leg.jpg 2018 "Break A Crazy Leg" oil on movie posters, oil on linoleum tiles 36 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1517533711389-R77TCS6AUMLT4QK37FXT/LOStresGOLPESdetail.jpg 2018 "Cara de Yo No Fui" oil on printed plastic, oil on sheetrock 36 x 24 in. each 2018 http://www.onelnaar.com/painting daily 0.75 2018-02-20 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519150006980-5I2UX3X14LLH42XOI3QB/SCHOOLofATHENSinstallationVIEW.jpg 2016 "The (New) School of Athens (after Raphael)" installation view Roundabout LX, Lisbon, PT 8/21/16-8/30/16 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519086991386-BLTNW576JN92RNCWOMJG/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+installation+view.jpg 2016 “A Tempest Diptych (after Leonardo da Vinci)” Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519087024893-QYOPTCRBQO13IINI7WJI/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+detail.jpg 2016 “A Tempest Diptych (after Leonardo da Vinci)” detail Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519087100562-D7IZFN0TGA0X65396EM7/A+Tempest+Diptych+%28after+Leonardo+da+Vinci%29+detail+2.jpg 2016 “A Tempest Diptych (after Leonardo da Vinci)” detail Gandules and epoxy resin on found commercial print 112 x 48 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519086950052-M1LVDR0S33UBQCDJCMLG/Eye+Level+%28after+Stuart+Davis%29.jpg 2016 “Eye Level (after Stuart Davis)” Yucca and epoxy resin on found billboard advertisements; banana leaves and epoxy resin on wood 49¼ x 37¾ x 2½ in. 2016 http://www.onelnaar.com/installation daily 0.75 2018-02-20 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481930937231-N0HE9L5ZQS40HTQWJVL2/image-asset.jpeg Copy of Installation "The (New) School of Athens (after Raphael)" installation view Exhibited during a residency with Roundabout LX in Lisbon Portugal during the summer of 2016. Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481930978624-8ZH897VKKRPBMTPRJBHI/image-asset.jpeg Copy of Installation "The (New) School of Athens (after Raphael)" detail Exhibited during a residency with Roundabout LX in Lisbon Portugal during the summer of 2016. Mixed media Dimensions variable https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481931831342-P63LU310SNUK4Z9015DX/image-asset.jpeg Copy of Installation "Babylon the Great..." Rush Arts Gallery installation view Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481932054811-KRJU2IHX6CTIY3XM7JUF/image-asset.png Copy of Installation "Babylon the Great..." detail Digital C-Print Dimensions variable 2006 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481930148405-TWGLRSM5IRQQFZ57MALZ/image-asset.png Copy of Installation "Todavía No (after Eva Hesse)" Lentils, latex and hardware Dimensions variable 2002 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481930450072-31IG5ICB33N9C2OTAXO8/image-asset.png Copy of Installation “Woman” Rib, leaf, seed, vinegar in baby bottles. 2001 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481929848261-M7CF5I9KCRR1FSN80AF3/image-asset.png Copy of Installation “It's Lightweight” Light bulb, rope, pulleys, hooks and anvil Dimensions variable 2001 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481930500082-6PL26NS2JYBEAUHHZDML/image-asset.png Copy of Installation “Man” Marker on wall, Plate on wall, Latex tube on wall, Bicycle wheel on wall, Dimensions variable 2001 http://www.onelnaar.com/performance daily 0.75 2018-02-20 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519159675344-SA78SBLXKKM3S4CPTJEM/1%29+Requiem+for+Organs+Without+a+Body+%26+Untitled%2C+Anthropometry+Diptych+%28after+Yves+Klein%29.jpg Performance Untitled, Anthropometry Diptych (after Yves Klein) Art Helix Gallery mixed media 48 x 24 in. each 2018 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1519159533143-OP2HTK2NDLMDLTA6SYFP/Permission+Slip.jpg Performance Permission Slip 2/24/17-2/26/17 Art Helix Gallery Onel Naar, norton, Shani Ha, Wilson Duggan, Joe Milo http://www.onelnaar.com/painting-1 daily 0.75 2020-01-27 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481948065647-4BMHMSW0ODF6PXX74H51/image-asset.gif Study for Colgão Study for Colgão 1 Banana leaves and epoxy resin on wood 36 x 24 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481948090178-J95GCW0K8LC2SQ7MS8UC/image-asset.gif Study for Colgão Study for Colgão 2 Vicks VapoRub on copper wire; banana leaves and epoxy resin over wood 26 ¾ x 21 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481948028881-FQXSN7RTCJ25PWV725U9/image-asset.gif Study for Colgão Study for Colgão 3 Yucca and epoxy resin on latex over wood 36 x 24 in. 2016 https://images.squarespace-cdn.com/content/v1/5783a6b703596e5098f34e57/1481947973941-PX6HEI6UCYJGRJRIU34I/image-asset.gif Study for Colgão Study for Colgão 4 Sand and rubber cement on printed plastic over wood 54 x 48 in. 2016 http://www.onelnaar.com/new-page-37 daily 0.75 2024-07-16 http://www.onelnaar.com/statement-copy daily 0.75 2025-05-22 http://www.onelnaar.com/new-page-4-1 daily 0.75 2025-05-22 http://www.onelnaar.com/statement daily 0.75 2026-02-02