https://marissabaez.net/menu daily 0.75 2019-08-26 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1566767074257-6Z915IWAJ4K4IMN68FP4/IMG_7624.JPG Menu - Dour, 2018, 19"x8"x11" https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1566782421898-USNWTNZNIKARJFEJY2ID/fullsizeoutput_3d8.jpeg Menu - Fragmented Form 1, 2018, 7"x18"x18" https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1566775734394-MBIHD79MXDO4Z2BP2DCH/fullsizeoutput_4fa.jpeg Menu https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1566775910035-HQ8C4OP8FKRKGJRU9UTN/IMG_7547.JPG Menu - Feuillage, 2018, 25"x33"x35" https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1566775608615-54FKJE1YZ0S8ZY38MIZX/fullsizeoutput_4ad.jpeg Menu - Dining Time Memories, 2018, 51"x69"x41" https://marissabaez.net/fall-2019spring-2021 daily 0.75 2023-07-20 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612229884134-U5SIISNFUB8OSPO9XQKC/IMG_1095.jpg Fall 2019-spring 2021 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612230704689-ASF2I0EROUSVCJ42AGKW/IMG_2253.jpg Fall 2019-spring 2021 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612230856843-AJKPBX9OQFGP28NJW8A4/IMG_0761.JPG Fall 2019-spring 2021 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612232144548-Z6S1DVGFIVDHNF6S97X6/image.jpg Fall 2019-spring 2021 - Fall 2019 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612229697669-GH8I5H8OB1T373FLOB05/IMG_0693.jpeg Fall 2019-spring 2021 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612230668603-KYYO02ZGGNXDW14EDIN0/IMG_2108.jpeg Fall 2019-spring 2021 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612229014620-3XIZENCBP8Q8GNKXT31Q/Blurr.jpg Fall 2019-spring 2021 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612230332522-9NME1R2NCIG088UW8ZRG/Marissa-5.jpg Fall 2019-spring 2021 - Roses, 2020-ongoing Image taken by Andrew Castañeda https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612224518513-RX0UDT90XKMFC52E9B6V/IMG_0189.jpg Fall 2019-spring 2021 I have been researching marginalized histories in the Texas region. I am focusing more on Mexican/Indigenous people’s histories. I have even been influenced by my own family’s experience and other oral histories I have learned about. In my undergraduate studies, I was exposed to the word Mestizo, which means Spanish mixed with Indigenous. I am searching for that lost culture due to colonization. I have been heavily influenced by Dr. Tamez’s story from El Muro (The Wall)(Who is someone I recently reconnected with). In her documentary, she discusses one of the roles of the Texas Rangers, which was to hunt and kill Mexicans in Texas in order to take their house deeds to retake the land. In the documentary, it is mentioned that a lot of Mexicans are finding out through DNA testing that they are majority native. The violent act of colonization ruptured but did not obliterate, the traditions of displaced people. Sacred rituals were adapted in order to survive, which often meant going underground and integrating characteristics of European customs.”(This is a quote from Ana Mendieta and the Black Atlantic book). This information I mentioned is just a fragment of what I have learned so far. I consider the work I am creating now as an intuitive response to what I have discovered(like this piece for example). All of the materials started as separate objects, such as the cyanotypes and the casting. Last semester I was also interested in researching the process of decay. What led me to the research were Sally Manns’s body farm photography images, as well as working with mold, and the meaning of the death tarot card. I use fire quite a lot in my works, and one suggestion was to look at a fire as a form of decay. The other suggestion came from a word Bonnie Collura used that stuck with me. The term was “absence”, and I kept fixating on that word. Both suggestions led me to the ash. It started with the burning of the fabric, then I decided I wanted more, so I burned newspapers to get the ash. The piece may not visually show a connection to the histories but it is more metaphorical, alluding to the loss of culture, and its absence in history. A lot of what I have been researching pertains to Texas history because of my personal connection to it. I have been interested in the oral histories of Mexican/indigenous peoples poorly represented in Texas. The piece may not visually show a connection to the histories but it is more metaphorical, alluding to the loss of culture, and its absence in history. Please excuse any grammar errors. This statement was one of my first attempts at disusing this issue. My words change over time but I pull past information. I want to share my writing journey alongside my artwork. I leave this early writing here to show to illustrate my progress with third-space identity, decolonization, anti-colonization, and multiculturalism concepts. I hope my progress encourages others to explore similar conversations. Everyone needs a place to start, which is why I am showcasing my journey. https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1612228570747-CMQG7VHP08DJG75UIWRH/47FD0181-D21C-4FDD-A9DC-58486BA25B07.jpeg Fall 2019-spring 2021 1918 is a prototype consisting of 540 piles of ash. This prototype was created to reference the 1918 Provnier Massacre in Texas. the files are divided into 15 rows of 36. The 15 piles present the 15 boys and men killed by the Texas rangers. 15 piles include unfired ceramic body parts. It is estimated up to 1000 Mexicans were killed during that time. The final goal is to create 1000 piles of ash. Recourses: https://time.com/5682139/porvenir-massacre-descendants/ https://marissabaez.net/2022curent daily 1.0 2025-03-04 https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1689867849000-H28UKO7J38Y2HA7LBEGD/Marissa_Walking+1_Print_+16inx20in.jpg 2022-Present Day https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1689872128924-Y73M5FMK58O59C0S3OC1/C644FA3F-A29F-418A-9D0D-E9EA1BE0FB25_1_105_c.jpg 2022-Present Day Image taken in Marlin Texas. I chose to start off with this image to create a curated path for viewers to start off when viewing this work. This street houses many memories of my maternal great-grandparents. Once a thriving street now full of abandoned homes that my family still owns. I have spoken with family that I have never met before. I am trying to uncover and document all the Curanderismo practices done by this side of my family. As I move forward with this ongoing series, I aim to one day visit the town in Mexico my great-grandfather is from. This will help me get closer to the indigenous influences attached to my family’s private practice of Curanderismo. https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1693175825585-O48DJD595LZO65FNY6VU/Chair%2B1.jpg 2022-Present Day - Turquoise Plant Stand 1, 2023 It was made to hold these planters that are part of another sculpture. https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1689867378672-XPQXJPTMG8GJYJFGU8FG/Headpiece+1%2C+2023.jpg 2022-Present Day - Untitled, 2023, Image of work taken by Gabrielle Leon. Wax, Ash, Fabric, Aluminum, Wood The headpiece was casted in East Germany. https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1702922880503-126CPF7AC0JB804PQKHG/Pena_.jpg 2022-Present Day - Pena Face to face with Pena! The most important location for me. I have researched the town and the importance of this mountain. Only 2 to 3 hours away from the town in SLP where my great grandfather is from. I was so close to but not close enough. Unfortunately, I did not get to talk with anyone in Bernal. I was unable to see the family chapels passed down in some families. Despite that, I am one step closer to connecting with my grandmother’s family. https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1725846081757-KSCFMODPQVWLKFUJWUO6/Maiz+image+2.jpg 2022-Present Day https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1725834250191-21SENZXOG2ZQJH7ZUGK8/_MG_8765.jpg 2022-Present Day https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1728518966275-WCLA52TGJYVCY5X6TUFR/image-asset.jpeg 2022-Present Day - Absences Performance 2024 Cello performance by Chris Ellis. Chris performed a mixture of music written by Marissa Baez and music from his intuitive response to the music and the performance, thus a new composition was formed from the energy of the room. In this performance planned by Marissa Baez, the audience is invited to participate in this healing performance. Chris Ellis Instagram link https://www.instagram.com/c_ellis_t?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw== https://www.yellowbarn.org/artist/chris-ellis The sculpture was originally made in 2019. This is the first community performance done with this sculpture. Absence Is a early work created in 2019 that initiated working with ash in their creative practice. During that time Baez was researching Mexican American histories in Texas. The previous spring Baez had been in conversation with Dr. Rosalva Resendiz, co-creator of EL Muro. EL Muro discusses land dispossession involving a Lipan Apache elder’s struggle with homeland security. Leading Baez to create two artworks for Lipan Apache elder Dr. Eloisa Tamez. El Muro mentions the actions of the Texas Rangers and the fear they imposed on marginalized communities. After hearing about Texas Rangers’ action Baez came across Injustice Never Leaves You Anti-Mexican Violence in Texas by Monica Munoz Martinez. Injustice Never Leaves You includes oral histories of first-hand experiences of the violence enacted on ethnic Mexican bodies. In the first two displays of Absence, the marking makings are intuitive responses to personal/inter-generational and researched experiences that marginalized bodies face. In this current iteration of Absence, the ash performance serves to release any ailments participants carry. I have opened my ash performances to everyone by creating my own Curanderismo rituals to focus on healing. https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1729217898207-1ZF5WWDQ4Z3A457JDPCA/_MG_9030.jpg 2022-Present Day https://images.squarespace-cdn.com/content/v1/5c301d1ecef3725fb5232020/1740682232113-33LQ01OAQR0IETE1RYLQ/The+Matriarchs.jpeg 2022-Present Day - The Matriarchs, Print on Amate Paper, 2025 The Matriarchs and 1687 were artworks created in response to artwork from the Palmer Museum for a collaboration I initiated between SOVA BIPOC students and the museum. The two artworks I chose to develop are a response to Carrie Mae Weems's Kitchen Table Series Solitaire and Matika Wilbur's Dr. Mary portraits. While Carrie Mae Weems and Matika Wilbur come from different communities, both works encourage conversation around marginalized experiences, specifically the roles of women. Regardless of the environment, both women in each work show their presence. I chose the two artworks to center the focus on Black and Brown women and to highlight the resilience in our BIPOC communities. From the intimate environments and moments Weems depicts, to Wilbur's elder embracing open space ahead of her. The cyanotypes have only been exhibited for one night at the museum. In the current political landscape as artists of color, it is important to focus on solidarity. We are stronger as a community and I view the cyanotypes as an act of resistance to show that our histories and our cultures will not be erased. The Matriarchs: The image focuses on the women from my maternal side of the family. For the first time in many years, my grandmother was reunited with her sisters in Texas. These women were carriers of knowledge and I have been actively interviewing family members since 2020 to uncover what was lost. Curanderismo was something my grandmother practiced and is my family's connection to preserving our culture. 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