In a departure from his usual practice of meticulously rendering images in silver gelatin, Mark McKnight is producing a new set of large-scale cyanotypes. Lotfi’s drawings, fountain, and figurative sculptures speak to liminal spaces, like the borderlands or diasporic experience, and register changes in light and time to tune viewers to real and imagined landscapes that define our identities and sense of belonging. The artist’s site-reflexive installation uses formal and multisensory strategies to convey complex experiences like exile, alienation, and exclusion. Inviting both intimacy and information, the piece constellates localized and often conflicting ideas of class, gentrification, devotion, myth and architecture.Ī newly commissioned sculptural brass fountain will unite several two and three dimensional works by Nazafarin Lotfi. Mimicking the offerings left at the shrine, the work is a generous offering in itself, with stacks displayed for visitors to take away with them. The only such Catholic shrine dedicated to a sinner in the United States, Gutiérrez meditates on this beloved and contested site through a personal and historic lens. Devota’s wall poem recasts the wall as a space for lyric imaging, and is created in solidarity with artists and viewers who seek the dismantling of walls built for imprisonment and genocide.Ī broadsheet take-away from Raquel Gutiérrez combines text and image that reflect on El Tiradito, the heavily trafficked shrine in Barrio Viejo, near the Museum. This installation, wrought in the poet’s own hand, returns her work “THE DOGWOODS” final typeset text back to its source––where it was first drawn and annotated in the middle of the night or in moments of inspiration. The replica itself will cross the border from the artist’s studio in Sonora, and will be complemented by a new video work that activates the sculpture through staged performances of the gate’s use.ĭot Devota will contribute one of her wall poems to the project, a large-scale calligraphic intervention that she will paint directly onto one of MOCA’s gallery walls. The gate has been blockaded to obstruct one of the last active sites that accommodates passage for tribal citizens to sacred lands on both sides of the US/Mexico border. The premise of the exhibition is centered on directly supporting the creation of new objects and ideas as well as underscoring the essential work artists and poets perform, especially during moments of social and cultural crisis.įor the exhibition, Miguel Fernández de Castro is creating an exact replica of a gate found between the sovereign Tohono O’odham Nation in the US and ranchland in Sonora, Mexico. Each contributor has a unique perspective on this moment of pandemic and protest as well as on the local landscape by virtue of currently or recently living, working, or quarantining in the area. Working from Home features new commissions from five artists––Miguel Fernández de Castro, Nazafarin Lotfi, Mark McKnight, Nicole Miller, and Rocki Swiderski––and two poets––Dot Devota and Raquel Gutiérrez––who are all connected to Tucson and the surrounding bi-national region.

Soundwaves art foundation