Tender Leaves (2021). Ink, charcoal, and gold leaf on cardboard produce box (52.50 x 62.50 in). Photo by Yubo Dong.
Through my art, I intend to highlight the difficult reality faced by American farmworkers, a workforce essential to American life consisting of men and women almost wholly of insecure immigration status. This status makes them vulnerable to predatory practices from agribusiness. I am a former farmworker myself; after immigrating to the United States from a small community outside of Oaxaca, Mexico, I worked nine seasons in the fields of Eastern Washington state to pay for my undergraduate and graduate degrees.
I seek to honor farmworkers and reveal the difficult working conditions they face. Their portraits and scenes from the fields are executed on found produce boxes. When I nest images of farmworkers amidst the colorful brand names and illustrations of agricultural corporations, I hope to help the viewer make a connection, or a disconnection rather, and start creating consciousness about the people that farm their food.
We cherish ourselves even to the bones which like some mother’s rigid hangers hold us to our lacquered shapes in the smug dialetheia of am and briefly was until we come to our raveled ends everyone just taking up space until space takes us back one washed-out moment at a time like tea leaves steeping in a cup until we’re ready for someone to bow in close and take a quick ceremonial sip then turn the cup wipe clean the rim and hand it carefully to yet another honored guest who mindful of what we might let go to waste will not leave until every drop is drunk.
John Ashbery called me after he died So you can imagine my excitement When in his droll hyper-nasalated Timbre quite undiminished by death He chatted on about the bowls of Pitted cherries provided as snack-food In the upper worlds and of afternoons Climbing trees with Edna Millay to read Comic books with her in the branches. Then his voice dropped two octaves And he spoke solemnly of Jack Benny: ‘You can say funny things or say things Funny but silence was the punchline For Jack Benny.’ And he was gone.
The soapy drench is physics drawn to river toward me, 15 feet away in my flimsy chair. At first its body fans to deliver brims to concrete sinks I had not glimpsed, then narrows to speed unveiling dips and bellies, then courses on to a hole with a remnant pool anchored by a cigar butt. A halt belies its reaches. A lump has pushed the grey drool around the promised lake in delta featherings while another drive has passed beneath my seat to rest in my colossal shadow, clearing its slate of suds. The flow now ponds in the heat and readies its ghost mirror to catch me, gray in noon’s appraisals, the reaper of the day.
Whatever you believe, know this: Teodoro Ramirez’s dog could see into the spirit world. Teddy, as he was called by everyone in barrio La Zavala, never shared this with anyone. Of course, the only people he could have shared this with would have been his co-workers or his tíos and tías, who only came by his house occasionally now that his mother, Josefina, had died, que en paz descanse. He probably could have told la Señora Izquierdo, the nice old lady who lived alone next door and brought him tamales every year when it was close to Christmas. She may not have believed him, but she would have listened.
Teddy believed lots of things his mother, Josefina, had told him and sometimes heard her voice even now that she was gone from this earth, the diabetes she’d had trouble controlling taking her too soon, que en paz descanse. Like if you went outside and got either your head or your feet wet, but not the rest of your body, you would catch a cold. If you ate hot flán or cake, your stomach would get sick. “Mi hijo,” she would say, “don’t eat that or you’ll get empachado.” If you pointed at a rainbow and then touched yourself without washing your hands, you would get pimples wherever you had touched yourself. But the one thing that helped Teddy comprehend how his dog was different was Josefina’s teachings about spirits. She had often said that any place—a house, a church, even a whole barrio—was imbued by either good or bad spirits that had influenced the events there. Teddy had even accompanied his mother on several limpias of homes, where she and the comadres from church anointed doorways with oil, waved bundles of burning sabio in hallways to clear the home of bad memories or mal espíritus that had plagued the families therein.
When I started out, it was mostly about the adventure, following Ivan and the firebird, heading into history across the Black Sea, climbing the Odessa steps through the resistance, then the suppression which fed yet another resistance, following Pushkin through the tangle of fairy tales
The cold stings your skin as you walk out of the hotel. It’s your first visit to Europe. You’re with a cultured friend who knows these countries well and, most importantly, is an art enthusiast. He immediately suggests, with a friendly and zealous shake of the head: “How about a museum?” And you think it’s a great idea. Restaurants, cafés, streets, tourists, crowded squares… they’re the same everywhere. But if you go to a museum, you’ll be able to show off about it to your co-workers. And it’ll be a conversation starter with Sarah, the woman you can’t stop staring at, who has an odd-looking painting in her office and who once told you that it was by someone called Dalí, although you’ve already forgotten the rest of the name.
The farmer’s daughter began her fifth period, more excavating, more mortal than the previous. The toilet under the stairs flushed half-heartedly, returning red-brown effluent. Go down, go away, be off to the underworld! She pumped a second time, jangled the handle to make her point. But there would be more. Dark clumps and entrails, another six days of the end of the world.