‘Camp Scorpius’

June 3 - 25, 2023

A fully immersive, multi-media, multi-sensory performance art installation for the “Seattle: City of the Future” group exhibition. Visitors are guided through a portal and unwittingly find themselves transported to a refugee camp on a dark and stormy night. It is the year 2058, the United States is no longer, and the world is ravaged by climate change catastrophes. They are now volunteers.

”Welcome to Camp Scorpius, a partnership between the Greater Seattle Department of Sustainable Resettlement and the Yellow Cross of Cascadia United Territories. 

Camp Scorpius is situated on the grounds of a former disaster response camp (The Little Big One, 2049), which itself was situated on a former immigration processing center (The Separation Crisis, 2043-44). Though it may be of apocryphal origin, the camp is said to be named for a particular feature of the night sky. If one stands just outside the northern exit gate during the summer months, one can look south and see the framed tail of the constellation Scorpius. 

After the Great Separation of '42, the Department of Sustainable Resettlement was created to handle the influx of people migrating to the Cascadia United Territories. Sustainable Resettlement, along with the newly formed Yellow Cross, provided humanitarian aide, relocation assistance, and integration services.

A decade and a half later, here at Camp Scorpius, a new influx emerges. And with it, a greater urgency.”

360 VR of installation/exhibition (For ‘Camp Scorpius’ - enter exhibition, make immediate left, then right towards bathroom. Installation is through doorway with yellow curtain/lights.

CRN orientation video:

‘Huitzilopochtli, 2336’

September 2016 - October 2017

Commissioned multi-media installation exploring migration. Located at John C. Little, Sr. Park. Part of the City of Seattle Office of Arts and Culture’s 2016 Art Interruptions. Featuring audio of the Rufous hummingbirds, courtesy of the Macaulay Library at the Cornell Lab of Ornithology.

The Rufous is a migratory hummingbird that travels thousands of miles annually from Mexico to its summer grounds in the Pacific Northwest. Known as the most fearless and ruthless of all North American hummingbirds, they echo the fierce Mexica (Aztec) god of warfare and sunlight, Huitzilopochtli (wē′tsə-lō-pōch′tlē). 

Intended to be on display from September 2016 until December 2016, the installation was vandalized and destroyed, rebuilt, and extended until October 2017. 


Highlighted on Seattle Channel’s Art Zone with Nancy Guppy. Watch video here:


Huitzilopochtli, 2336

Art Interruptions, an annual temporary art program created by the Office of Arts & Culture, is funded by Seattle Department of Transportation 1% for Art funds.  

Thanks to: Macaulay Library at the Cornell Lab of Ornithology, City of Seattle Office of Arts & Culture (Marcia & Liz), 2016 Public Art Book Camp Cohorts, SDOT, Seattle Parks & Recreation (Nick & Bill), Fremont Laser and Design, Capitol Hill Tool Library, Pacific Supply, Museo Nacional de Antropología - INAH, Museo del Templo Mayor - INAH, my CDMX research team (Marcie, Tanya, Kat, Lorenzo, Martha, Ani, Ed), and the Rodriguez family.


‘Have A Magical Day’

April 2018

Multi-media performance art installation exploring the service industry, emotional labor, and my two years as a Disney’s Guest Relations Host at Epcot.

Part of The Factory Gallery’s “Oh You Still Work There” group show.


‘CVYas’

October 2018

Interactive multi-media performance art installation exploring prescription drugs and the pharmaceutical industry.

Part of The Factory Gallery’s “DRUGS” group show.


‘Be Fit For More Than You Are Now Doing’

Summer 2014

Interactive multi-media art installation exploring tenacity and reserve.

Part of the 2014 Nepo 5K Don't Run.

Photo credits: Kari Champoux & Chip Rountree. In memory of Jose Rodriguez.

Play Installation Audio
"Be Fit For More Than You Are Now Doing"

"Be fit for more than the thing you are now doing. Let everyone know that you have a reserve in yourself; that you have more power than you are now using. If you are not too large for the place you occupy, you are too small for it."

- J.A. Garfield


‘Onward By Deeds & Not Words’

Summer 2015

Interactive multi-media art installation exploring memory and nostalgia. Shown at the 2015 TK Loft’s ‘Art of The City’ festival and the 2015 South Lake Union Block Party. Source images: Garfield High Senior Class portraits of 1927.

Featuring Hoagy Carmichael’s 1927 hit song, "Stardust.” Listen here:


‘Leaves, 1998/2015’

Winter 2015

Video projection exploring love and loss.


“Plate”

Winter 1982


‘Yellow/Blue:

New Orleans’

Las Cruces - Caroline (Carol) A. Rodriguez of Las Cruces, New Mexico passed away on April 13, 2020 surrounded by her children's love.

Carol was born and raised in Lordsburg, New Mexico where she was known to many by the loving nickname "Boxer." She eventually moved to El Paso, Texas where she met and married the love of her life, Jose (Joe) Ruben Rodriguez. They remained sweethearts for over 50 years. Their life together started in Calexico, California. They settled in Clint, Texas, where they lived for over 40 years.

While raising her three children, she obtained her B.S. in Education at the University of Texas at El Paso and began a passionate career in elementary education. She loved working with and advocating for children, and, in recognition of that devotion, she was a finalist for Socorro Independent School District teacher of the year after being awarded teacher of the year at Escontrias Elementary.

She will be remembered for her passion for life and a good glass of sweet white wine (or two), her love of music, science and the arts, and her deep, unwavering faith in God. She will also be remembered for her profound love and dedication to her family. She supported her husband in his law enforcement career while he supported her with her career in education. And she encouraged and guided her children into becoming resilient, independent, and reasoned adults. She took great pride in their successes and was their greatest champion in times of growth and need.

They were equally proud of her. In 2010, she nearly succumbed to a severe case of West Nile encephalitis that left her unable to speak or walk. Within a year, through her tenacity and fighting spirit, to the amazement of her doctors, she taught herself to speak and walk again, and thrived for another ten years. It was through this battle that she truly owned her moniker "Boxer."

Much of what her children learned came from the example that she and her husband modeled as husband and wife for 47 years. She missed Joe dearly when he passed in 2014. Now, she is in his arms for eternity, both together in the Light.

She is preceded in death by her parents Manuel Alvarez and Luz Rico, her brothers Lupe Alvarez (Mary), Ricardo Alvarez (Jessica), her sisters Isabel Calloway (Bob), Nellie Rivera (Frank), and Mary Louise Madrid (Raymond).

Caroline is survived by her beloved grand-dog Banjo, her daughter Rebecca Velarde and son-in-law Adrian, sons Richard Adrian and Ruben David, her sisters Wilma Alvarez, Lucy Estrada (Juan), and Alejandra Altuna, and numerous nieces and nephews that she adored.

The family kindly requests no flowers; instead, if you wish, donate items/funds to a local food bank in your community in her name. Carol always looked out for those in need, and now is a time to support them.

Unfortunately, due to current public health restrictions, the in-person services and burial will be closed to the public. You are welcome to join them via live stream on Friday, April 17, 2020 beginning with the Rosary at 9:30 a.m., followed by Mass at 10:00 a.m. at Immaculate Heart of Mary Catholic Church. Burial will be at Fort Bliss National Cemetery on Monday. The family hopes to have a more open memorial celebration in the future.

Arrangements by Getz Funeral Home, 1410 E. Bowman Ave. Las Cruces, NM 88001. Please visit www.getzcares.com to sign the local online guest book and join the livestream.

 


 

I'm sorry. The system has failed you. (Panopticon 2026)

Single-channel vertical video (color, sound; 3:45 loop), 3D-printed polylactic acid, red LED illumination, steel mount, electrical wiring, archival broadcast excerpts: ABC, CBS, CNN, FOX, NBC

Vision originated in prehistoric organisms as simple light-sensing patches, evolving over half a billion years into the complex human eye as a vital tool for predatory awareness, navigation, and survival. Today, vision continues to evolve into an automated, algorithmic network of surveillance cameras. What began as an evolutionary adaptation for survival is now an apparatus that automates municipal tracking and enables systemic abuse.

Grounded in the recorded public apology of Flock CEO Garrett Langley, the installation interrogates algorithmic policing, automated license plate tracking networks, and civic accountability. By slowing and elongating Langley's voice into a persistent choral drone, the soundscape converts corporate damage control into an ominous institutional liturgy. Distorted records of systemic abuse flash across a screen encircled by dozens of cameras arranged in a radial panopticon. Trailing straight down from the bottom of the monitor, exposed black cables provide an industrial root system and exposed spine, giving the floating display a mechanical, parasitic weight. Submerged entirely in monochrome red light, the chamber reflects the gaze back outward, implicating the spectator within the machinery of municipal surveillance.

Broadcast material sourced from public reporting by ABC, CBS, CNN, FOX, and NBC.

Artist Note:

“Originally conceived for IMMINENT MODE: EVOLUTION in collaboration with a fashion designer, this project was envisioned to compliment a wearable surveillance apparatus. The initial concept integrated 3D-printed Flock camera housings directly into a garment, anchored by a headpiece that converted the model's eyes into camera lenses. The look would have included a clutch purse designed as a camera that, when smashed, would release smoke and the audio of corporate damage control. Video projections were intended to play across the surface of the clothing while integrated cameras fed live surveillance of gallery attendees back into the display.

When my collaborating designer could no longer participate, the project was forced to adapt (mirroring the core theme of the exhibition itself). Stripped of the garment, the installation distills that trajectory down to its raw mechanical core, leaving the viewer alone in the dark facing the predatory gaze of the apparatus.”