Within Chicana literature, Gloria Anzaldúa promoted the Nahuatl term “nepantla,” which means “in between.” Inspired by Anzaldúa, Lisa Alvarado explores the crossroads of her Mexican-American heritage and institutional fine art concepts in “Trace Memory,” which is on display at the Southwest Campus’ Russell Hills Rogers Gallery until Feb. 28.
The gallery displays textile work, mixed-media photography and a video recording of the Natural Information Society Community Ensemble’s “descension (Out of Our Constrictions).”
Alvarado utilizes zig-zag patterns, neon colors and heavy brushstrokes to breathe life into the textiles. Her pieces infuse the cultural history of textile making with fine art techniques; the artworks are seemingly moving. Human silhouettes form within the weighty brushstrokes as one examines “Traditional Object 13.” The negative space begins to take over the lumps of pink paint. “Traditional Object 13” is not stagnant. It is in conversation with the viewer.
“Traditional Object 6” and “Traditional Object 5” seem to be in a shootout, given their positionality to one another. The pieces face one another as they beg audiences for attention. The neon reds and greens allude to Alvarado’s Mexican-American heritage. Given the use of the colors of Mexico’s flag, the heritage cannot be contained, despite the several borders placed on the textile. The radiance of the pieces causes one to lose track of where the artworks end and where they begin.
Beginning in 2020, Alvarado created mixed-media photography to reinforce her Mexican-American heritage. Four pieces titled “Thalweg” reflect the impact of Mexican repatriation on Alvarado’s ancestors.
“Thalweg (Luna 1)” and “Thalweg (Luna 2)” focus on a river and canoe of people. “Thalweg (Luna 1)” introduces a divide into the photographs as a faded yellow line divides the photo into two uneven sections. A line that some may feel symbolizes the controversial Mexico-U.S border set by the signing of the Treaty of Guadalupe Hidalgo that resulted in Mexico losing 55% of its territory to the U.S.
“Thalweg (Luna 3)” presents a portrait of Alvarado’s grandmother touting a cross pendant as she tearfully stares at a canoe of people. “Thalweg (Luna 4)” spotlights Alvarado’s great-uncle, who stares into the camera lens with a tightened jaw. Alvarado positions her great-uncle’s portrait alongside an empty river. The juxtaposition creates a seemingly lost sense of identity. Alvarado embosses the photos with curved patterns that grant the still portraits and landscapes a sense of movement. Alvarado’s ancestors are no longer stuck in time. They are not erased; they live on.
In a separate room, Ari Brown and the Natural Information Society Community Ensemble’s performance of “descension (Out of Our Constrictions)” at the 2022 Pitchfork Music Festival plays. Alvarado plays the harmonium while the song’s writer, Joshua Abrams, plucks the guimbri. The musical arrangement heightens the sensory experience of Alvarado’s textiles, with 40 minutes of the performance playing.
Multiple conversations occur at “Trace Memory.” Textiles and photos speak to audiences, while a separate discussion takes place between the visual artworks and the auditory art. Alvarado’s work begs audiences to engage with all their senses. Her work is not confined within its framed spaces; it exists in the “nepantla.”
Engage with Alvarado’s “Trace Memory” at the Russell Hill Rogers Gallery at 1201 Navarro St. The gallery is open Thursday to Saturday from 12 p.m. to 5 p.m. “Trace Memory” will be on display until Feb. 28.
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