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Meet the artists

Yael Eban

Yael Eban is a visual artist working primarily with the medium of photography, Yael investigates photography’s role in visual culture. Appropriating archiving techniques, she blurs the boundaries between fiction and reality unveiling the tacit influence of images on the beholder.

Recipient of the 2022 NYSCA/NYFA Artist Fellowship in Photography, her work has been exhibited most recently at Turley Gallery (Hudson, NY), Hilbert Raum (Berlin), Abakus Projects (Boston, MA), and Form & Concept (Santa Fe). She has been featured in Hyperallergic, Artsy, Collector Daily, and FADER. Eban has attended several residencies including MASS MoCA, Wassaic Project, and Vermont Studio Center.

Aura Arreola

Interdisciplinary artist, performer and choreographer, Aura specializes in collaborative experimentation, butoh and site-specific performances in dialogue with sound art, live art, visual arts, music and experimental film; as well as with embodied philosophy, environmental humanities, cognitive sciences (4E Cognition), and activism of the erotic.

She is an MFA candidate at the National Autonomous University of Mexico, and has performed in Japan, Chile, Colombia, Costa Rica, United States and Mexico and collaborated with more than 40 artists from Mexico, Japan, France, Syria, Canada, Costa Rica, United States and Argentina.

Kara Mshinda

Interdisciplinary artist with a background in visual anthropology and photography, Kara Mshinda uses freehand drawing, collage, and lo-fi photography, to develop visual narratives about place, communicative practice, and daily life. Her work has been exhibited at the Leonard Pearlstein Gallery, Rush Arts Philadelphia, Delaware Contemporary, Mana Contemporary in Chicago, Commonweal, Philadelphia Sketch Club, and Schau Fenster in Berlin.

Mshinda is an instructor at @tyler_artandarchitecture at Temple University where she teaches on themes of race, identity, and visual arts in the Americas. She serves as Fellowship Director at Da Vinci Art Alliance, a member of the Arts Committee at William Way LGBT Community Center, and the artist-run gallery collective Tiger Strikes Asteroid.

Juan Carlos León

Juan Carlos León lives and works between Mexico City and Quito. His practice is defined by a constant hybrid identity. On the one hand, he explores the development of landscapes built from sensitive data visualization through generating electronic and automatized sculptures and installations that derive from experimental processes of scientific research. On the other, he constantly works with materials such as petroleum, water, fungus, and extracts from medicinal plants—whose rich physical and symbolical qualities also exude economical, religious, mythological and cultural connotations. In his work, he is interested in the ways technological advancements have given humans the illusion of power over nature.

He is currently experimenting with a variety of collaborations happening between human and natural elements—in which the design of a controlled environment can eventually lead to an organic process—there where nature and culture, as well as arts and sciences, are on an ongoing dialogue.


SiSi Chen is an artist based in Brooklyn, NY. She never has enough time. She was born two weeks early because her mother accidentally electrocuted herself watering a houseplant. She has not updated her website. She is a sculptor, and no, she is not interested in going to Dia Beacon with you. She received her MFA from Hunter College, but has not left, and now works for the art department and holds the keys to all the supply closets and secret nooks.

She will not respond to acronyms. She approaches the world through a constellational understanding, in which positioning is not measured through fixed coordinates, but is continually shifting, contingent upon one’s own navigation through ever-fluxing time and space. She has too many hustles and can’t remember what is supposed to sustain what. She is a material girl, especially if that material is amorphous, invisible, virtual, viscous, umami, slippery, sonic, or fraught. She is of star dust, as are you. She is waiting with bated breath that you’ll be able to recognize nuances. 


Aurora Noreña conceives sculpture as the container of all her practice and the place where painting, video, creative writing and multidisciplinary projects take place. She studied architecture and holds an MA in visual arts but considers that it was during her years as a teacher in high art education, where she found the necessary elements to implement her creative strategies, alongside her inclination to develop social projects with symbolic resources.

By 2016, the Mesoamerican cultures become her main focus, and sought within “horizons of incomprehensibility” (artist’s expression) resources to fabulate around memory and to explore the agency that objects from the past have to intervene in our lives. Her latest sculptures, Tepalcates, bring back to our imaginary objects made invisible by the illegal trafficking of cultural heritage. With novel techniques and suggestive formal explorations, she grants these objects a new life and carries out a symbolic restitution bringing them back to us in this new frame.

Rachel de Cuba

Rachel de Cuba is an interdisciplinary artist raised in Sebastian, FL. Her work looks at structures’ interwoven role in politics and citizenship in the Americas. Focusing on the mimicry of the architecture of a house in connection to the structure of borders and democratic apparatuses, she questions the seduction of the American home.

Rachel received her BFA in Studio Art at Flagler College in 2013 and her MFA in Digital Art at Indiana University in 2019. She received recognition for her thesis work with Grant awards from Indiana University. In 2019 she was invited to create new media artworks for the New Orleans Film Festival with support from the Andy Warhol Foundation. de Cuba’s work has been shown nationwide and was recently selected to exhibit in 701 Center for Contemporary Art’s 2021 South Carolina Biennial in Columbia, South Carolina. Her mixed media work has also been selected for publication in New American Paintings Southern 2022 Edition. Rachel de Cuba is currently Assistant Professor of Art at Clemson University.

María Mendez

María makes an artistic practice of witchcraft, trusts in the symbolic relationships that emerge from the divination reading, and enunciates them. She works with the materiality of historical, magical and personal archives, mainly with the inquisitorial sources that mention women named Maria Mendez (S. XVII) between COL and MEX, she convinced herself that they share something more than her name.

Her projects are long-winded, the process is abundant, in itself, they are a result traversed by everyday life and motherhood. She is interested in the table as a body that supports the processes, food and community. Since 2012, she makes use of the kitchen as a meeting place for creation and she has been invited to cook with women from the insular zone and the Magdalena River in Colombia, Puebla, and Mexico City.

She has shown her work at the Museum of Contemporary Art in Bogotá, the Museum of Modern Art in Cartagena de Indias, the Archaeological Museum of Galapa Atlántico, the Municipal House of La Boquilla in the insular area of ​​Cartagena de Indias, the Banco de la República Museum in Montería, and the Zenu Indigenous Museum, the Manuel Huertas Vergara Sincelejo and Pereira Art Museum. In addition, she has participated in artistic residencies in the Argentine Northwest, Puebla Mexico and the Atlantic Colombia and her work is part of the collection of the MAMC Museum of Modern Art in Cartagena de Indias.

Alisa Ochoa

Alisa Ochoa is a multidisciplinary artist living and working in Southern California. She applies bold colors and poetic language to all areas of visual expression, including sculpture, painting, and video. Play is a serious matter in her work: meticulously crafted objects and their material stand in for time, memory, and resilience.

Ochoa’s artistic achievement has been recognized with residencies at Hunter College Ceramic Department, Penland School of Craft, and Kala Art Institute, and with exhibitions nationwide. Her artwork has been reviewed online and in print, including The Los Angeles Times, where David Pagel wrote “Alisa Ochoa’s homemade book, in which design tells the story so well that words are obsolete.” She was recently appointed to the inaugural Arts Commission for the City of Costa Mesa.


Chantal Peñalosa (Tecate, Baja California, Mexico) studied visual arts at the Autonomous University of Baja California and the University of São Paulo.

She won the acquisition prize at the XIV Bienal de Artes Visuales del Noroeste and was a FONCA fellow in the Young Artists category (2013-2014; 2015-2016 and 2020-2021). In 2014 she was also a beneficiary of the Bancomer-MACG Program in its 4th edition.

Her work has been shown in institutions such as MUAC (2022), Museo Jumex 2021, Mexico; Carrillo Gil Museum of Art, 2021; M HKA Museum, Belgium, 2019; ESPAC, Mexico, 2019; XII FEMSA Biennial, Mexico, 2018; Amparo Museum, Mexico, 2018; CCI Fabrika, Russia, 2017, La Tallera, Mexico, 2015; ZKM Center for Art and Media, Germany, 2015, MUAC, Mexico, 2014, among others. She received the acquisition prize at the XIV Bienal de Artes Visuales del Noroeste and has been part of FONCA in the Young Artists category (2013-2014, 2015-2016, 2020-2021). In 2014 she was part of the Bancomer-MACG Program in its 4th edition.

Departing from a poetic language and presenting an autobiographical tone, she establishes dialogues and negotiations with phenomena such as: waiting, and the unnoticed and the passage of time, where it is possible to glimpse political and social aspects. More recently, she has developed projects related to passages in the history of art and literature that have been omitted, forgotten or rejected.


Emilio Maldonado is an Afro-Caribbean artist living in Philadelphia. Through a multidisciplinary practice, he boards questions that live between the realm of the domestic and the social-contemporary, dealing with culture, poverty and trauma and with a very keen interest in the human condition. 

He has been part of group and solo exhibitions nationally and abroad, including “The Mutability of Time” (Schau Fenster, Berlin, Germany, 2022), “Make/shift” (VOX Populi, Philadelphia, PA, 2021), and The Santo Domingo Museum of Modern Art Biennial, (Santo Domingo, DR, 2013). He has received the CFEVA Artist Fellowship (2022-24) and Mural Arts Fellowship for Black Artists (2021) and is an artist member of Tiger Strikes Asteroid and Philadelphia Sculptors in Philadelphia.He lives and works in Philadelphia, PA.



Alexis Granwell investigates the potential of pulp to record touch and create intimacy, exploring the psychological and bodily characteristics of our built and natural environments. Her work has been exhibited both nationally and internationally, and she has participated in exhibitions at The American University Art Museum at The Katzen Art Center, Washington DC; Schau Fenster, Berlin, Germany; BravinLee, New York, NY; Underdonk, New York, NY; Field Projects, New York, NY; Ortega y Gasset, New York, NY; Fleisher/ Ollman Gallery, Philadelphia, PA; Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA; Fjord Gallery, Philadelphia, PA; Mana Contemporary, Chicago, IL; Tiger Strikes Asteroid LA, Los Angeles, CA; Bryan Miller Gallery, Houston, TX; Mono Practice, Baltimore, MD; Hemphill Gallery, Washington DC; Dickinson College, Carlisle, PA; Towson University, Baltimore, MD; and Europos Parkas Museum, Vilnius, Lithuania.

Granwell earned her MFA from the University of Pennsylvania in 2007. She received her BFA in Painting with a minor in Art History from Boston University in 2003. She has been awarded residencies at I-Park Foundation, AS220, Ragdale, and Jentel and her work has been reviewed in Hyperallergic, Sculpture Magazine, The Washington Post, The Huffington Post, The Globe and Mail, Two Coats of Paint, Maake Magazine, Title Magazine, The Philadelphia Inquirer, and Art F City.

Granwell is a Professor of Sculpture, Drawing, and Graduate Studies. She currently teaches at The University of Pennsylvania and the Pennsylvania Academy of the Fine Arts.



Lorena Mal is an artist based in Mexico City that grounds her work on research and interdisciplinary dialogue using sound and image as tools of investigation, production and collaboration.

She combines archives, drawing, scores, performance, sculpture, installation and film, as forms that connect visual arts, music and material history to propose spaces to disrupt linear narratives of time, memory and fixed systems of knowledge, opening plural and intimate ways of relating with the past and the possibilities of a common future, where the dynamics of presence (fugitive gestures), perception (threshold images), and embodiment (unquiet archives) work as fundamental elements to engage with the present.

Some recent solo exhibitions and sound performances include ‘Witness Trees’, Smith Gallery, NC (2022); ‘Songs of plain river basin valley’, Centro Cultural Tlatelolco/Parroquia de Santiago Tlatelolco, MX (2021); and ‘Temporal’, Museo Amparo, MX (2020). She has shown her work at the Museum of Modern Art, Mexico City; Biobat Gallery Brooklyn Army Terminal, NY; Palazzo Grassi, Venice; Espacio de Arte Contemporáneo (ESPAC), Mexico City; Meinblau, Berlin; Armory Center for the Arts, California; Museo ExTeresa, Mexico City; Laboratorio Arte Alameda, Mexico City; Jumex Foundation/Collection; and the Institute of Graphic Arts of Oaxaca, among others.

She is alumni of residencies as Skowhegan School of Painting & Sculpture, McColl Art Center for Art+Innovation, Casa Wabi and Cité Internationale des Arts among others, as well as recipient of grants and supports from singuhr projekte in Berlin, BB15 in Linz, the Young Creators Program of the National Fund for Culture and the Arts and the Program for Production in Art and Media in Mexico.


Ulrik Lopez studied at the Escuela de Artes Plásticas de Puerto Rico (EAP) in Old San Juan, and in 2012 was accepted in the art program at SOMA in Mexico City. In 2013 he obtained a BFA in sculpture, minoring in industrial design. He completed an independent program ‘La Práctica’ in Old San Juan in 2014. He was a resident at FLORA ars+natura in Bogota in 2018 and recently received his masters in Fine Arts from Bard College, New York.

His work draws on objects and shapes from human sciences and material and cultural production, mostly archaeology and anthropology of the Americas. He aims to approach cosmic visions, the ritual, the myth, the craft and revised forms of folklore. His practice thinks of the object as a witness connecting with us spectators.

Ulrik has recently held the Pivo residency in São Paulo, Brasil, Paiján 8,000ac in Trujillo, Perú, and at the Delfina Foundation, London, UK.



Hirona Matsuda creates immersive environments that evoke her interpretation of a time and place to create a shared human experience.  By often repurposing natural and manufactured materials found on site, she incorporates the landscape directly into the work.  She has kept a studio in downtown Charleston, SC since 2006.


Ramiro Chaves practice subverts boundaries between disciplines by creating images and objects taken from photographs, drawing, painting, sculpture, and other mixed techniques.

His works take place at the crossroads between his studio practice, education, and documentation. This is the point of departure from which he develops a method in which the accumulation and appropriation of information and objects, products of a personal and creative archaeology, take sense and unfold in a parallel fashion and adopt new meanings within new contexts.

His works can be exhibited in shows but also become products of printed editions or audio-visual material. This results in the imagining of a process of individuation connecting diverse layers and materials coming from diverse sources such as autobiographical experiences, relational narratives, words, diagrams, maps, landscapes, and animals. His practice operates like a mediation that produces new perceptual possibilities and relationships that shed light on how normalcy is defined.

Some of his recent projects include: Proyecto CANADA, Museo de Arte Carrillo Gil, 2006; el proyecto XXXXXXXXXX, part of the program of Arte Actual BVVA Bancomer – Museo de Arte Carrillo Gil, 2012-2014; Lxs brutos, Museo Universitario del Chopo, 2015; Crótalos, Sala de Arte Público Siqueiros, 2016. He has held residencies including ISCP in New York, 2014 and Beta Local, Puerto Rico. His work has been exhibited locally and internationally. He has led group editorial projects among which Domingo, 2006, Editorial Diamantina; XXXXXXXXXX, 2014, Editorial Neter ; La Loma del Orto, Autoeditado, 2015; MANIMAS , Autoeditado, 2018. He is a founder member of MANINAS and a collaborator of Colectivo MAOF, Puerto Rico.

His work is represented by Galería Agustina Ferreyra.


Cydney Lewis is a Chicago-based multimedia artist with a distinguished multidisciplinary background. She began in architecture at the University of Illinois Urbana Champaign, where she received a BS in Architectural Studies; she also attended the L’École D’architecture de Versailles, France.

The fluidity of her ability to transform materials reflects her mastery of ballet as well as her endeavors in film. Her art is held in private collections around the world and has been exhibited widely, at venues including the Union League Chicago, Hyde Park Art Center and The Ukrainian Institute of Modern Art. She has received various honors, among them residencies with Chicago Public Schools and Lyseloth Musikerwohnhaus Basel, Switzerland, as well as awards including 3Arts Make A Wave grantee, Best in Show at Governor State University and the Black Creativity/Green Art Award from the Museum of Science and Industry. Currently, she is a member of Tiger Strikes Asteroid of Chicago.


María Naidich is a visual artist. Her artistic work combines research and diverse production practices most of the time resulting into multimedia installations involving image, sculpture, found objects, light and sound. Her work address topics related to nostalgia for a place, archaeology and nature. With a specific interest in the narratives, objects and colonial structures implied in the construction of an (anthropocentric) imaginary about nature and therefore it´s domestication. Naidich works with phenomena on the edge of the natural and the artificial, questioning the borders around them through fabulative places created from the historical, the personal and the magical.

María holds a MA with honors in Art and Literature Studies from the UAEM in Mexico and a BFA from the Gerrit Rietveld Academy in Amsterdam, The Netherlands. She was awarded with a production fund for 2022 by the National Fund for Art and Culture In Mexico (FONCA) and recently selected for the 2022 Pilchuck Fellowship Program in Seattle, U.S.A . In 2019 she received a scholarship to study her MA from the National Council for Science and Technology (CONACyT). Her work has been exhibited in individual and collective exhibitions inside and outside México; Salón Acme (Mexico City, 2022 & 2019), Galleri Q (Copenhagen, 2018), HANGAR Barcelona (Barcelona, 2017), Oude Kerk (Amsterdam, 2016) and the Flemish Cultural Center De Brakke Grond (Amsterdam, 2015) among others.


Alex Paik is an artist living and working in Los Angeles. His modular, paper-based wall installations explore the adaptability, impermanence and interdependence of forms, color, and structures. He has exhibited in the U.S. and internationally, with notable solo projects at Praxis New York, Art on Paper 2016, and Gallery Joe. His work has also been featured in group exhibitions at BravinLee Projects, Ruschman Gallery, and MONO Practice, among others.

Paik is Founder and Director of Tiger Strikes Asteroid, a non-profit network of artist-run spaces and organizes Correspondence Archive, an online series of conversations between artists of color.


Mariana’s practice seeks to create images that speak about and reflect the landscapes that we tend to forget due to the digital world we are immersed in, linked deeply with our experience as humans. Memory is a tricky thing, the pieces we remember are the ones that shape who we are, ¿what about the missing parts?

Mariana has a background in architecture (ITESO). She an editor and founder of the magazine Semper Feminae, which shifts art history from a feminist standpoint. She is also a member of the editorial committee of the publication Enredhadas, which advocates for the rights of women and immigrants. She was a collaborator in Estudio Adrián Guerrero and she presently works at the studio “Hoyos”, which she founded with her sister.

She has attended the ‘Sur’ residency and has participated in numerous exhibitions as well as been a candidate at the Pad Jalisco program and was the grantee of the fund Siga SEDECO y Reactiva de Fomento Artesanal.

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