Interactive Environments and Sculpture -

is a collection of 66 commemorative plates. Fifteen of the plates are commercially produced souvenir plates collected by the artist. The plates map acknowledge suppressed histories while reflecting geographic locations of extractive economies of Arizona.

Private prison lobbying expenditures and historic moments are proposed as a direct lineage to current manifestations of mass incarceration.

Arizona – The Grand Carceral State is a collection of 66 commemorative plates. Fifteen of the plates are commercially produced souvenir plates collected by the artist. The plates map acknowledge suppressed histories while reflecting geographic locations of extractive economies of Arizona. Individual plates push against each other in authenticity and representation.

(from the series, things that might have made us more empathetic), 2019 The series of objects and installations hypothesize social interventions that might have transformed culture. This piece combines a low tech video game HUMANITRON. Players earn points by helping people in the desert. Below the video display is a reprint of a 1986 New York Times article reporting the federal trial of humanitarian workers in Tucson, a handbook of “American History” with a tabbed page on “labor and immigration” and two popular board games. The Last Supper holographic clock keeps current time just to the right of the living room scene.

HUMANITRON, a fictional video game from the 80’s (from the series, things that might have made us more empathetic), 2019 The series of objects and installations hypothesize social interventions that might have transformed culture.

HUMANITRON, a fictional video game from the 80’s (from the series, things that might have made us more empathetic), 2019

Higher level scores allows players to purchase blankets to aid family in car that are cold.

Players earn money by giving people water in desert. Higher aid allows players to gain use of water truck.

is a replica of a rescue beacon. There are 34 rescue beacons in Border Patrol’s Tucson Sector. The beacons were developed by Customs and Border Protection a decade ago, and point to the ongoing controversy at the southern border. The three-dimensional artwork is a meditation on the complex history of race, sexuality (otherness) in the context of intersecting forces of imperialism, immigration, and the deadly extraction economies of mass incarceration. -a motion activated audio player randomly plays short sections of music. Strange Fruit (Billie Holiday 1939), This Land is Your Land (Woody Guthrie 1940), Mississippi Goddamn (Nina Simone 1964), We the People (A Tribe Called Quest 2016) – a stack of paper contains the Death Detainee Reports from the ice.gov website – image of a deployed rescue beacon in the sonoran desert labeled tactical – a time activated essential diffuser with lavender for stress relief (satirical relief in place of real avenues of reparation)

Work by M.Jenea Sanchez (photos), sheri crider’s Nontactical monument for reparations in foreground. Back wall Shontina Vernon, sheri crider’s VR piece and Phillipe Galle 15th century print from museum’s collection.

Images Courtesy UNM Art Museum, Stefan Batista

Entrance of FLIGHT installation.

Most Everyone who believed in the best of me.

images: Stefan Batista

Main projection in FLIGHT. Time lapse video of Cibola Detention Center.

Installation detail.

Detail of bird mobiles.

COEVAL QUIVIRA, Interactive room. L to R Targets to manifest all your fears and desires(facial recognition), Rock, Paper, Scissors-Race, Gender, Class and A few moments of (dis)connection to build on (VR)