[SUICIDE SAUNA]

From the series “Apple Orchard, 1982.” Latest episode: [SUICIDE SAUNA]. 2/26/26, the garage gallery. Kiwi with Cherry, artists in residency. Under the Gilbert fellowship program. Documentation by the Photography department, first group. 35mm color film.

Concha (structure), residues from the series “Apple Orchard, 1982.” Drawing sketch on paper, 11 x 14 inches. Colored pencils. 2026.

[SUICIDE SAUNA]

Kiwi with Cherry

2/26/26

The Garage, Gallery

Black and white 35mm film scans

Suicide Sauna is an experiential photo installation from the series “Apple Orchard, 1982.” Basada in a single memory. This fourth iteration looks a la transformación de memorias con acciones íntimas adentro de un carro siendo inundado con una cortina de neblina producida por un steamer. El rayado del cuerpo en medio del sofocante humo, simplemente respirar, se vuelve casi imposible. Las palabras se vuelven slurs, hablando casi en secreto, la comunicación se nubla, aunque todo se siente satisfying. La distancia y los obstáculos dentro del carro; se vuelven como paredes que hay saltar, quien maneja, o quien va en el backseat. All while being documented. Witness use a 35mm camera to photograph what they can and can’t see through the fogged windows. Faces pressed against windows tratando de mirar lo que esta pasando adentro. Duración una hora, sonidos, fotografia analogica, heirlooms y acciones rituales, incluyendo el play de la concha de mar. Documentation by Kiwi and Cherry. Trabajo en proceso.

“Apple Orchard, 1982.”

Kiwi & Cherry, first year review.2/05/2026.

G-SPOT, work by Kiwi and Cherry. Unreliable memories, Apple Orchard, 1982.
Digital captures, 02/10/26.

The Garage, Feb 19th, 2026.

Lyrics to a prayer.

120mm film scan.
From the series
“Apple Orchard, 1982.” work in progress.

Residuos de una acción fotografica. “Huerta de manzanas, 1982.” Escaneo de 120mm negativos en blanco y negro.

Residues of an action, Apple Orchard, 1982.

Títulos en proceso: (from top left)

"Water from the universe,", “The properties of a thing do not arise from relation to other thing, they arise from relationships.” Marxism. Glass jug, clay dish, carved wooden penis. 14 x 17 x 10 in, approx. 120mm B&W film scan. In process.

“SUVs (sport utility vehicles).” Conch. 8 x 6 x 5 in. 2026.

“Alfombra y fondo,”, “how are thoughts not memories, if thoughts are the architect of my creations, they are also responsible for new memories.” Mexican carpet, 56 x 81 in. 2026.

“Medias y manzanas, unmaned memories,”, “My memories are being activated by photography imagery charged with intimacy, performance pause.” Panties, apples and carved wooden penis. Size varies. 2026.

“About naming and labeling feelings, that later become unreliable memories tarnished by clarity.” Conch, white rose, and carved wooden penis. 10 x 6 x 5 in. 2026.

“The sociality of gay culture,” Conch and carved wooden penis.
7 x 8.5 x 5 in. 2026

From the series "Apple Orchard, 1982." Study of residues of a photography action. Digital images, 2026.

Through photography installations, I trace how histories of fear, desire, and tenderness shape who we become. Rooted in my experience as a Central American immigrant, my practice moves across borders, languages, and shifting forms of belonging.

During my first semester I began developing a series of works (body actions, photography, sculpture, and installation) from two points in my artistic career. One, from my past experience as a performance artist, drawing connections from my ritualistic background using a sculpture mask of a macaw. I presented the notion of stillness, sovereignty of my naked body, and the influence of the United States in my native country that later earned its title “The Banana Republic.”

Another performance work is inspired by a single memory from when I was five years old, when I went to the movie theater for the first time.I titled the work “Apple Orchard, 1982,” which is not the title of the movie I watched. My mom took me to the movie theater, and while we were watching the movie, she quickly covered my eyes with her hand when the sexually charged scene appeared on the screen. Coincidentally, it is the only scene I remember from the movie. (Through the cracks of her fingers.)

I was working with materials that carry emotional weight from this single memory: heirlooms, folkloric skirts from back home, and a Greek column. These are not merely objects but vessels of memory, ways to navigate what is revealed and what is protected. In reassembling them, I looked for the spaces where vulnerability becomes strength.

While these are personal experiences, they speak to my innocence and knowledge, specifically around the societal norms that are imposed, i.e. portrayal of a love scene from a stereotypically straight couple. I am interested in how this work can be transformed across media, while experimenting with the performativity of a non-normative object/subjects.

Moving forward, I am interested in how my experiences can inform works that engage with what is prohibitive, permissive, or shocking for those seeing them for the first time, i.e., two men kissing, holding hands. I am interested in documenting the residue of such experiences in objects and installations.

“Apple Orchard, 1982.” Kiwi & Cherry. A single scene from memory. 429 frames.

Previously: (2015-2024) Brief.

Yesterday three ducks were swimming on the river closed to each other, then a fourth one came in and landed and disrupted the other three. They all took off right away, but still, the group of three stayed together during the flight, while the fourth one falling behind, tried to join them in mid-air. The three ducks made quick turns, from one side to the other, still really closed together, clearly avoiding the fourth one. After several attempts to join the group of three ducks, the fourth one gave up and made a sharp right turn, and landed on the water by itself. While the other three landed far down the stream.

Prototype-frame. 2025. Olive from the series “We Are Wearable Objects.”