
VCFA GD Semester 4. Grad Thesis.
The genre™ is part memoir, part cultural analysis, and part and part design theory. Who says you can’t mix feminine realness with some shade, tea, and a little brujeria in a critique of the ways concepts of God, gender, race and heroes have failed us — all in the pursuit of divining the power we’ve always held to heal ourselves?*
WRITING
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WRITING 〰
Thesis Book Outline
Ecosystems of Care,
Thesis statement/statement of purposeKinderGardens,
Children as teachers/collaboratorsThe Milpa, and the Xochitla
Gardens as a teachers/collaboratorsWhat About Your Friends?
Community as teachers/collaboratorsCeremony as Research,
Ancestors as teachers/collaboratorsAltars of Prayer
God/The Creator as a teacher/ collaborator
The Milpa is a Mesoamerican invention—a cultivated field system designed not only for growing food but also for sustaining soil health. Rooted in the symbiosis of plants and soil, the Milpa serves as a framework for self and community care. My metaphorical Milpa is a creative ecosystem that harnesses the power of the symbiotic relationships between my practices of motherhood and gardening. These practices deepen my connection to people, spirit, and land, enabling me to approach visual design and pedagogy from a regenerative perspective.
Essay
Thesis Statement / Statement of Purpose
ECOSYSTEMS OF CARE
Design as a Care-Taking Process
I’ve often heard graphic design described as “problem-solving,” but that definition has always felt incomplete. While problem-solving is certainly part of the process, design itself does not solve problems—people do. A more accurate definition comes from Ellen Lupton, who said, “Graphic Design is storytelling.” This perspective acknowledges both the motivation and the outcome of design: we shape messages, construct meaning, and craft narratives that have lasting impact on the world around us.
If graphic design is storytelling, then we must also ask: What story does design tell itself about itself? And how might reexamining the human impulse to tell a story reshape the way we practice design now?
Answering these questions requires more than just recognizing the power of narrative in shaping our world—it calls us to become critical of the stories we’ve inherited, recover the ones we’ve lost, reclaim the ones that have sustained us, and write the ones that will sustain future generations. Storytelling has never been a neutral act; it is a tool of survival, resilience, and transformation—a force that not only preserves history but actively shapes the future.
Throughout history, storytelling has been a foundational practice—not just for survival, but for shaping knowledge systems and collective well-being. In Native Hawaiian culture, the saying “talk story” refers to the communal sharing of ideas, stories, and perspectives—it is a practice that has been used to foster relationships, cultivate community, and preserve traditions. Similarly, the Mexica people relied on oral traditions, ceremonies, and pictorial codices to record their laws, history, and genealogies. Storytelling is not only an ancient and deeply human practice—it is a a way of producing frameworks that ensure the success of future generations.
Yet, American design education has largely ignored storytelling as a foundational design practice. Some might argue that design history books favor a curatorial lens of technological innovation, but the omission of key advancements—such as the bound paper book developed by the Romans in the 1st century, the illuminated manuscripts of the Qur’an in the 7th century, and ceramic movable type created in China during the 11th century—reveals a deeper bias in how we choose to remember. Most Graphic Design History courses frame Gutenberg’s printing press (1477) as the field’s starting point, conflating the ability to mass-produce and distribute stories with the very origin of graphic design. But this is not where design begins—this is the birth of mass communication in an era of empires.
If this is our origin story, what does it mean to be a graphic designer?
From Gutenberg’s press onward, each technological leap is presented alongside a "graphic design movement" that either worked in tandem with—or against—massive societal shifts: civil wars, genocides, and the exploitation of people and planet in the name of progress. The studio learning environment—which often feels disconnected from the history classroom—fails to acknowledge that many of today’s most enduring design movements were not neutral, or benevolent in their purpose—they were constructed to oppress, disenfranchise, and erase entire populations. Instead students are too often provided a list of design principles and aesthetic attributes that have been stripped of their historical and ideological contexts, and are then asked to replicate these aesthetics as "proof of learning." This practice conditions future designers to replicate inherited frameworks without questioning who they were built for—and who they were built against.
While many students may never question these practices enough to uncover these histories, or consider the weight of perpetuating these ideas—there are those who have lived with the consequences of these histories— while they may not be able to articulate why, they often feel the discomfort of the violence of being asked to replicate these languages—in their bones. In both cases, these populations are robbed of their agency to engage in design storytelling with a more expansive understanding of our practice, our purpose, and our potential.
Beyond the Western gaze of Graphic Design, the lineage of storytelling as communal care is woven into daily life—it exists in the food we eat, the clothing we wear, the music we listen too, and the various faiths we practice. Our customs and communities are living archives, sustaining our children, our gardens, and our connection to the land and creative spirit. Most profoundly, in acts of creation, the stories we tell—and the care they bring—have the power to travel through time.
Our ancestors created with us in mind. They knew they would never meet us, and yet they shaped the world for us. Through the artifacts they left behind, they handed down knowledge, and instruction. The first motive for making visual design was not to consolidate power, engage in commerce, or provide entertainment—it was care.
What if we chose to begin the story of graphic design there? What kinds of design frameworks—for making and teaching—emerge when we begin our story with caretaking?
The breadth of what is documented here is a quest to answer these questions. Through reflections on my practices of mothering, gardening, and being in community—with people, ancestors, and God—I seek to reveal the framework for care-centered design storytelling, teaching, and practice that I have co-created with them. By presenting my research in the form of storytelling, I am aligning my methodology with message, demonstrating how narrative, and memoir can be a tool for inquiry, reflection, and transformation.
The conclusion will offer practical strategies for incorporating these ideas into pedagogical frameworks, including co-creation and participatory design practices that center storytelling, methods for presenting global perspectives and revisionist histories, and modern examples of designers and collectives actively challenging traditional design education. Additionally, it will provide suggestions for implementing these shifts within institutions resistant to change, offering pathways for educators and practitioners to integrate care-centered, storytelling-based frameworks into their work in ways that are both radical and achievable.
Citations
Lupton, Ellen. Design Is Storytelling. Cooper Hewitt, Smithsonian Design Museum, 2017.
Townsend, Camilla. Fifth Sun: A New History of the Aztecs. Oxford University Press, 2019.
"Talk Story: About." Asian/Pacific American Librarians Association (APALA), https://www.apalaweb.org/talkstorytogether/about/.
Meggs, Philip B., and Alston W. Purvis. Meggs' History of Graphic Design. 6th ed., John Wiley & Sons, 2016.
Essay
KINDERGARDENS
Children as teachers & collaborators
A mother of multiple children quickly learns that each child is unique, with needs as distinct as their personalities. Meeting those needs requires constant adjustment, making motherhood an adaptive, knowledge-building practice shaped as much by intuition as by experience. This learning process demands flexibility, openness, and a willingness to embrace each lesson in real time—and we do it all in the hope of guiding our children toward a future self that is whole, healthy, and able to thrive in our inevitable absence.
From the very beginning, my children showed me who they were. At her 12-week scan, Sofia’s tiny legs kicked off the walls of my womb—my body was her personal trampoline. I felt her first movements at just 13 weeks. She remained active throughout my pregnancy, she frequently got hiccups which would cause my great big belly to jolt all on its own every few seconds. At my 16-week scan with Max, I told my OB, Dr. Cooper, that I was sure my placenta was rooted at the front of my belly—which he confirmed. “How did you know that?” he asked. I explained that I couldn’t feel him kicking yet and guessed he was pressing against the placenta rather than the front of my belly. “WOW,” he replied. A mother knows her body.
I met my babies before they were born. Both Max and Sofia began teaching me about themselves as I carried them. In my dreams, they would reveal glimpses of who they were becoming. Sofia chose her own middle name—Colette, a French name I later learned means "victory of the people." True to her Libra nature, she is a tender-hearted girl who cares deeply about fairness, justice, and beauty. One of her most heartbreaking moments at school happened while watching a giant furry moth lay its eggs on a plant in the schoolyard—only to witness a group of boys kill it for fun. She came home deeply troubled by their cruelty. We grieved together, sharing our frustration, and then made a plan: she would talk to her teacher, hoping to inspire a lesson on respecting nature.
Maxwell also communicated with me before he was born, he told me about his big big feelings, and prepared me to meet him in his own way. Max is a very social and affectionate boy, he thrives in connection with others. The pandemic isolation was especially hard on him. One morning, as we sat by the front window playing, we saw another little boy walking with his grandmother. The boy waved, and Max lit up. "He waved at me, Mom!" His eyes filled with tears. We ran outside, and standing 20 feet apart, the boys beamed waving and saying hi over and over.
Sofia was born without any medical intervention, because I wanted to really know what childbirth was like. I sure did find out. During the active part of labor I felt like a jaguar, I growled, and roared her into existence. The nurses were pleading with me to 'be quiet,' because I was scaring the other mothers. But roaring was the most effective form of pain management for me. With each roar, the pain disappeared and I could push. Eventually, I hit a breaking point and I decided she just needed to 'come out,' and I wasn’t going to stop pushing until she was here. Her arrival brought on a euphoric high in the place where all the pain had been. It was blissful relief. When I gave birth to Max, the pain felt even more intense, and I asked for the epidural. This time the absence of pain allowed the natural waves of oxytocin to flood my body, leaving me euphoric—almost high on ecstasy—throughout the entire delivery process. I never felt the urgency to 'get him out' like I had with Sofia; instead, I followed Dr. Cooper’s instructions to push. As Max began to emerge, Dr. Cooper suddenly shouted, 'Stop pushing!' and I froze. The umbilical cord was wrapped around Maxwell’s neck, and pushing was tightening it. Because I was calm I could stop, and wait for Dr. Cooper to gently slip the cord over his head and untangle him before the last push.
As a baby, Sofia preferred constant contact She nursed, snoozed, and took in the world while strapped to my body for the first few months of her life, we were like kangaroos. But when Max arrived just 23 months after his sister, I couldn’t keep up with a newly walking, running, and climbing toddler—with an infant strapped to my body. I decided a baby swing might be a good helper. After testing out a few, we found one Max seemed to enjoy—thankfully, it was also the cheapest option! Max would happily swing while Sofia and I played on the floor in front of him. He loved that swing so much and spent so much time happily rocking next to the play area, that if Sofia wanted my attention while I was holding her brother she would say “mama, put the baby here.” while pointing at the swing. When it was Max’s turn for focused attention, I’d set Sofia up on our king-sized bed with books, crayons, and an episode of Yo Gabba Gabba, where she would very happily lounge.
Watching them grow, I see how the babies I once carried still exist within them—how their earliest tendencies have deepened. Max still loves a good swing, and Sofia fiercely protects her “quiet alone time,” sprawling out on her bed to draw on her iPad, read books, or watch anime. Their personalities, remind me that a child’s selfhood is not something we create—it’s something we witness and nurture. Attachment Theory tells us that when a child's needs are consistently met with love and care, they grow into what psychologists call 'emotionally secure' adults. Through study and practice I’ve learned that Nature gives us the blueprint, but Nurture is what builds the foundation.
Attachment Theory provides four attachment styles or patterns that describe how people form and maintain relationships. According to this theory, attachment styles are shaped in early caregiving and influence how individuals experience trust, intimacy, and closeness in relationships throughout their lives. The four attachment styles are; secure, anxious, avoidant, and disorganized, each shaping relational dynamics in distinct ways. Secure attachment fosters trust and stability, while anxious attachment breeds fear of abandonment and emotional hypersensitivity. Avoidant attachment manifests as emotional distance and a deep reliance on self-sufficiency, whereas disorganized attachment reflects a push-pull dynamic of fear and unpredictability, often rooted in inconsistent or traumatic caregiving.
Stan Tatkin, PsyD, MFT—a clinician, researcher, and educator—presents the first three attachment styles through distinct archetypes:
Anchors: Individuals with a secure attachment style who are comfortable with intimacy and autonomy.
Islands: Those with an avoidant attachment style tend to be independent and may struggle with closeness.
Waves: Individuals with an anxious attachment style who are often preoccupied with relationships and seek high levels of intimacy.
The fourth attachment style, disorganized attachment, is deeply explored by therapist and attachment expert Dr. Diane Poole Heller, whose work offers a more nuanced understanding of attachment theory and trauma resolution. Heller emphasizes that attachment styles are not fixed; instead, they exist on a spectrum, often blending elements of all four styles and evolving over time based on the health of our relationships. According to her research, individuals with anxious or avoidant attachment can become more secure through consistent, healthy relationships. In fact, she argues that true healing from anxious, avoidant, or disorganized attachment happens only within secure, supportive relationships, where past patterns are unlearned and replaced with healthier, more adaptive ones.
From a young age, I recognized that my childhood experiences were far from ideal, but it was my own parenting journey that provided the revelation of just how unprepared my parents were to raise a securely attached child. At just 18 and 21 when I was born, they lacked the resources and knowledge necessary for intentional parenting. Without access to the wealth of information available today, their primary guide was their own upbringing—relying on inherited practices rather than informed strategies.Just before the pandemic shutdown in 2020, my husband and I faced a relational crisis that forced us to confront a difficult truth—we had not been raised right—we had inherited patterns that limited our emotional growth and well-being, and therefore we were not life-ing to our full potential. When the world shut down, we used the money that was previously going to child-care expenses to pay for intensive therapy—both individual and couples’ therapy—determined to break those cycles.
At the start of therapy, we took attachment quizzes to assess our relational patterns. My results showed a dominant pattern of anxious, avoidant, and disorganized attachment—a state I would describe as oscillating between extreme self-sufficiency (ghosting) and excessive dependence (clinginess), unable to find a middle ground. As my husband and I embarked on our therapy journeys in tandem, we learned how to reparent ourselves, to become better parents to our children, and be in a relationship with each other in healthier and more vulnerable ways. A year into this work, my attachment assessment had shifted from predominantly insecure to mostly secure.
Understanding my attachment patterns was a pivotal step in reshaping not only my parenting but also my relationships and sense of self. While attachment theory provided a framework for identifying how early experiences shape relational instincts, therapy became a classroom where I learned to unlearn, rewrite, and reclaim healthier relational patterns. Through this process, I realized that healing isn't just about acknowledging the past—it’s about choosing to engage differently in the present. As my husband and I worked toward greater emotional security, we began to reparent ourselves, cultivating the kind of care, trust, and stability we hoped to model for our children. This journey of self-exploration and intentional growth ultimately transformed the way I understand mothering—not just as an act of caregiving, but as a practice that can lead to generational healing. My children have taught me not only to trust my instincts and listen to my inner knowing but also that their wellness depends on me doing so. Motherhood has given me the chance to heal my inner niña, restoring the parts of myself that were once neglected. In shaping a parenting model different from the one I knew, I have become the mother I needed.
But the lessons of mothering extend far beyond the home. When I look toward the rest of my life—whether in creative work, teaching, or community—I see that true care is not about treating everyone the same, nor is it about imposing expectations shaped by past experiences. Instead, it is about learning to recognize and honor individual needs, responding with generosity, and cultivating environments where people, like children, can grow in their own time and in their own way.
My children led me to those teachings, and toward a nurturing praxis—where caring for children, ideas, or relationships—is an act of attention, instinct, patience, and trust. The work is about tending to what is present and providing conditions for it to flourish.
1 year into intensive therapy:
At the beginning of intensive therapy:
Citations
Tatkin, Stan. Wired for Love: How Understanding Your Partner's Brain and Attachment Style Can Help You Defuse Conflict and Build a Secure Relationship. New Harbinger Publications, 2012.
Heller, Diane Poole. The Power of Attachment: How to Create Deep and Lasting Intimate Relationships. Sounds True, 2019.
Essay
THE MILPA & OTHER GARDENS
Land as teacher & collaborator
Gardening has taught me that there is not just a single natural order, but many natural orders many systems many ways of doing and being and creating and many conditions in which each system can either flourish or diminish. It is an image that goes against concepts of universality that exist in the American ideology of all for one and one for all of patriarchy and heteronormativity being rooted in natural order natural systems that challenge patriarchy yellow aphids garden systems that challenged universality cop planting natural systems garden systems that challenge universality different water needs different soil needs different sun needs garden concepts that challengeall for one and one for all the four corners of a garden are four different ecosystems
Context for Understanding
Tres Hermanas / The Milpa
Milpa, also known as the Three Sisters, is a traditional agricultural practice of growing corn, beans, and squash together, from the same soil. The practice originated with the ancient Maya and is still used today in Mexico and Central America. 1
How it works
Corn: Provides a sturdy structure for the other plants to grow around
Beans: Climb the cornstalks and add nitrogen to the soil through their roots
Squash: Twine around the cornstalks and provide shade and moisture
Benefits
The plants thrive better together than when planted alone
The plants help each other, like family
The practice is considered a model for healthy communities and strong cultures 2
The concept of milpa is a sociocultural construct rather than simply a system of agriculture. It involves complex interactions and relationships between farmers, as well as distinct personal relationships with both the crops and land. For example, it has been noted that "the making of milpa is the central, most sacred act, one which binds together the family, the community, the universe ... [it] forms the core institution of Indian society in Mesoamerica and its religious and social importance often appear to exceed its nutritional and economic importance." 3
The Three Sisters of Indigenous American Agriculture, USDA National Agricultural Library
The Story of Milpa, The Ecology Center
Nigh, R. (1976) Evolutionary ecology of Maya agriculture in highland Chiapas, Mexico. PhD dissertation, Stanford University. Ann Arbor: University microfilms.
Gardening is a practice of learning the earth’s secrets. It’s a process of waiting and watching. Observe, and respond. Observe, and respond. The biggest lessons are often delivered through failure. Plants die because they didn’t get enough water, or they got too much water. They did not get enough sun, or they got too much sun. Maybe your soil is too loose, maybe too compact. Maybe there are too many nutrients, maybe not enough nutrients. Even when you are a successful gardener who got your plants to grow and produce food, or flowers…critters got to them before you could.
A seasoned gardener has watched the sun move over the land, everyday, for a year and has learned the specific conditions of light that each plant tolerates and then plants them accordingly. Shade-loving plants are nestled under trees, while heat-loving plants are placed in the south, where the afternoon sun blazes. Sun-loving plants that can’t tolerate heat find their home at the northern end, where the cool morning light is strongest. A citrus tree is planted in well-draining, nutrient-rich soil, while tomato plants, which can coexist with caterpillars that nibble their leaves, are given a plot of their own—carefully distanced from plants that cannot withstand the caterpillar’s munching. As each plant is given what it needs the whole garden thrives, it becomes an ecosystem of self-sustaining life, and it produces an abundance of resources.
By cultivating care in this way—responsive, thoughtful, and attuned to the unique needs of each life—we create spaces where growth and flourishing happen naturally. Whether we are tending to children, communities, or ourselves, this approach fosters an ecosystem of mutual thriving, where every member is valued, nurtured, and encouraged to reach their fullest potential.
Essay
(presented at Anne West Workshop, figuring out how to fit these ideas into the Thesis Book)
GOOD FIRE
Good Fire
Indigenous land stewards have long used fire as a tool for ecological balance, a practice rooted in observing natural cycles like lightning-induced fires. Cultural burns, or controlled burns, use low-intensity fires with specific purposes: clearing invasive plants, enriching soil, triggering seed germination, and supporting biodiversity. These burns also prevent overgrowth that fuels catastrophic wildfires like California’s 2018 Camp Fire and Hawaii’s 2023 Maui fire.
Both the Camp Fire and the Maui fire exist as a result of settler-colonial violence that forced Indigenous peoples off the land they had carefully stewarded for hundreds of years. Just two years after the 1848 Treaty of Guadalupe Hidalgo forced Mexico to cede vast territories—including present-day California, Nevada, Utah, New Mexico, Arizona, and parts of Colorado—to the United States, the newly formed state of California introduced the Act for the Government and Protection of Indians. This law banned controlled burns, a cornerstone of Indigenous land stewardship, and forcibly displaced native populations through policies of genocide and removal.
“European settlers who set foot in California saw tribes setting fire to the land and regarded it as primitive. Strangers to the ecosystem and fire’s role within it, they suppressed the practice.” Indigenous practices of controlled burns, which had maintained ecological balance for centuries, were replaced by U.S. Forest Rangers and a policy of fire suppression. This approach, reinforced by a well-designed public campaign featuring the mascot Smokey the Bear, disrupted ecosystems and contributed to the loss of biodiversity.
By the mid-20th century, ecologists began recognizing the importance of fire in forest health, leading to the gradual reintroduction of controlled burns. However, modern government-controlled burns often focus solely on wildfire prevention, while Indigenous cultural fires serve broader purposes: promoting biodiversity, maintaining reciprocal relationships with the land, and preparing resources like acorn-producing oaks or hazelnut shrubs for use in food and crafts—solidifying the value of reciprocity in land stewardship.
Ron W. Goode, Tribal Chairman of the North Fork Mono Tribe, leads cultural burns and works alongside ecologists and educators to share Indigenous knowledge. He states:
“When everything’s a mess and dry, [...] then only the big trees are the ones that are sucking up water, [...] cultural plants can only go down about a meter for water, beyond that, they’re out of water. That’s when you begin to see parasites attack the bushes and the plants. Who grows a garden like that?”
“That’s why the need is to come in and put fire on the land.”
Alchemical Fire
In alchemy, fire is revered as the quintessential element of transformation, embodying the earthly sun—a force responsible for life’s perpetual cycles, from photosynthesis to the changing seasons. To the alchemist, fire is both a literal and symbolic catalyst, the first step in the journey to transmute base materials into gold or create the legendary philosopher’s stone, a mythical key to immortality.
However, the true essence of alchemy lies not in the creation of precious metals or eternal life but in the profound transformation it evokes within the practitioner. Through the alchemical process, the alchemist gains knowledge, wisdom, and philosophy, embarking on a journey of self-mastery. The thing that is most transformed by alchemy is the alchemist.
The Fifth Sun
In Nahuatl cosmology, we are living in the era of the Fifth Sun, a sacred age that began when the humble and noble god Nanahuatzin offered himself in sacrifice. By throwing himself into a fire and becoming the sun, Nanahuatzin ensured the continuation of life, embedding the act of sacrifice as a central value among the Nahuatl-speaking peoples of pre-contact Mexico.
While Western narratives often sensationalize ritual human sacrifice—an act practiced by many cultures—the Aztec understanding of sacrifice was far broader. It encompassed everyday acts of giving, sharing, and contributing to the collective well-being. Offerings of food, flowers, and goods were just as vital to maintaining cosmic balance as the more dramatic rituals depicted in popular media.
This ethos of mutual aid and shared responsibility was reflected in the very fabric of Tenochtitlan, the capital city of the Mexica. Its design and function prioritized community and collaboration, from its ingenious chinampas and aqueducts to the bustling marketplaces that thrived on collective effort. For the Mexica, these practices were not just practical but deeply spiritual, a reflection of their belief in the interconnectedness of life and the universe.
How this connects to my practice
My practices as a designer, educator, and design author center the application of cultural and philosophical fire—an intentional force that seeks to challenge, dismantle, and transform destructive, invasive, and outdated systems of pedagogy, theology, and ideology. These systems, built through colonial structures and historical oppression, do not serve to nurture or sustain the complex needs of contemporary teachers, learners, and creators. In fact, I aim to illustrate how they restrict growth and perpetuate inequity.
For the past five years, I have actively engaged in the process of healing from the trauma of colonization and unlearning the patterns of assimilation that profoundly shaped my life in devastating and destructive ways. I have divested from these oppressive structures in favor of reconnecting with Indigenous knowledge, practices, and values. This has been a journey of both personal and professional transformation.
Guided by knowledge and practices that prioritize relationships with land and community—where generosity, gratitude, reciprocity, and sustainability are central—I have cultivated a thriving ecosystem, both within myself and within my work. This ecosystem offers peace, vitality, deeper connections, and spiritual sustenance.
The focus of my thesis is to document what has flourished in the clearing of overgrown and oppressive pedagogical structures and to understand how the practice of “good fire” can nurture the growth of the artist and designer, allowing them to reimagine their roles in society. I hope to contribute to the ongoing dialogue around the desire and need for societal change and to support the paradigm shift that is moving humanity toward an age of regenerative diversity, equity, and inclusion for all.
Sources
How the Indigenous practice of ‘good fire’ can help our forests thrive
https://www.universityofcalifornia.edu/news/how-indigenous-practice-good-fire-can-help-our-forests-thriveFire: The Element of Transformation
https://www.evolutionaryherbalism.com/2018/09/04/fire-the-element-of-transformation/Townsend, Camilla. 2019. Fifth Sun: A New History of the Aztecs. New York
MAGIC
WORDS
Ancestral Epistemology
1) a system of knowledge that is based on the ways of knowing of Indigenous peoples. It is passed down through generations and is part of a person's culture, spirituality, and identity.
2) preserving or creating epistemologies for your future ancestors.
Ceremonial Research
1) the ceremony of maintaining accountability to these relationships. For researchers to be accountable to all our relations, we must make careful choices in our selection of topics, methods of data collection, forms of analysis and finally in the way we present information.
2) Participating in ceremony, creating ceremony or rituals as a form of research and learning.
Inherited Stability
One of many factors that shape privilege, or the application of freewill. Inhereted stability describes being born into a situation where one has access to resources, such as secure family relationships, financial stability, access to community, quality education at every level.
The shifting topography of “free will”
Notes on Ofrendas/ Altars
Apostle Joshua Selman, Nigerian gospel preacher, televangelist, and author
Altars of Prayer
Altars give life to a covenant.
An altar is a supernatural system of authorization, it is not just a monument.The rules of the earth realm require a body for the spirit to move through. It is a platform where the realm of the spirit makes contact with physical realm. It is where covenants are activated and maintained.
Altars can be physical monuments (like Old Testament, erected stones), it can be institutions (like Solomons temple), it can be people (Jesus).
Prayer transforms the body into an altar. Prayer is therefore needed to connect with the spirit of your creator. The most accurate measure of your spiritual life is your prayer life.
Jesus protested the exchange of money for salvation at the temple, flipping the tables proclaiming my HOME is a HOUSE of PRAYER.
Fu-ding Cheng, Author, Artist, Shaman, Teacher
Think of your Altar as a living being, like a garden. To the spirit realm an altar is like a landing pad in the mundane world. They are a living thing that connects you to your spiritual self. It will radiate energy back to yourself.
Application for my life: Home making is the construction of an Altar, the prayer of intention is a covenant over my space. I. must protect the energy of my altar, and not allow people to bring energy that will harm the spirit my altar provides. Do not allow RACISTS, HOMOPHOBES, or SEXISTS to step into your home, and speak of their covenants with HATE in your sacred space.
Ophelia Esparza , Toanlli Studio Master Alterista
Building Altars in Grand Park as a form of community building. Not concerned with Appropriation! Less concerned with borders, and more concerned with how the work effects the community/participants. “When you mix artists with culture, anything can happen.”
Projects
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Projects 〰️
Imago DEIsign Infomercial
Audio, take 1
Can you identify this Typeface?
visually define what is/is not eurocentric.
scrolling through a reddit board with design critique discussion.
Splice in the SNL Papyrus skit (big feels).
Gathering inspiration for screen graphics:
Gathering inspiration for art direction (instagram Cogey):
Gathering inspiration for art direction (Meiko Arquillos):
“Click here to simultaneously :
subscribe to our substack
create an account on our website
receive daily emails
follow us on all social media
download pdfs to your hard drive
forward this message to all of your contacts
and install the app on all of your mobile devices.”
To put it simply:
Imago DEIsign physical format idea
80’s kid nostalgia!
ZooBooks and Wildlife Fact File were a subscription to a monthly publications about different animals. Each issue became a part of a larger canon that was collected over time.
Wildlife FactFile came with a binder, and pages arrived hole punched so that you could organize and gather your pages into one place.
Imago DEIsign is offered as a quarterly subscription, with each release preceding a new teaching session.
Sample TOC:
Essay
Research Article
Assignment Idea
Class practice Idea
(mixed in, images for FUN!, student examples, qr codes, research rabbit holes that also have philosophical questions to pull you back out of the rabbit hole)
Notes page
Esta Es Una Ofrenda / This Is An Altar
Ambitions:
This altar will become a reproducible image as with previous Ofrendas, but will also exist as an installation that uses projection and sound.
Themes:
Motherhood and Gardening. The celebratory and honest
The exchanges that are made
When expectations meet reality
The soledad of the labor (aloneness/ singleness/ lonley but not sad lonely) SOLITUDE
Imagery:
Flowers, and Digging Holes
Birthday Cakes and PILES of laundry
Hands/Gloves as identity - putting rubber gloves on over the beautiful lace gloves, taking the rubber gloves back off the codeswitch in and out of servitude and into the solitary
Motion Experiments
Care & Feeding
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Care & Feeding 〰️
After the ecstasy, the laundry
Care-taking is not always glamorous, many times it is yucky, time consuming and thankless. Sometimes the most monotonous parts of care-taking are a welcomed retreat for the mind.
Song: Heartbreak by Little Red Car Wreck
Bajitas y Suavecitas is a groundbreaking exhibition celebrating women makers and leaders in lowrider culture. The exhibition highlights the complicated gender politics that structure and reflect the lives of women lowriders today through the work of contemporary artists and designers, which includes painting, photography, mixed media, and fashion. The exhibition artists’ works center the bodies of Chicanas/Latinas within lowrider culture and celebrate women-created spaces within lowrider communities which are anchored in self-love, empowerment, and unity.
Curated by Dr. Denise M. Sandoval, CSUN Professor of Chicana and Chicano Studies.
What I loved the most about this show, is that it is a celebration of the Mujerista (Womanist), in both Pachuco and Low Rider culture, which are often remembered as predominantly male, and any female representation usually comes in the form of “decoration” or feminie beauty - women through the male gaze.
In this exhibition we see women remembering themselves as they were or ARE in these spaces. As enthusiasts, participants, and as strong cultural leaders and workers.