Saraybx
Studio
Series
Series
Mestizaje
2026
The loom is considered the first computer. It is the earliest form of technology with rhythmical, geometric sequences that make up imagery through pixelated forms. The 12 by 12-inch panels show the breakdown of imagery in textiles, such as crochet and embroidery, that emphasize color and shape in 3 different compositions. One panel utilizes pixel art and crochet patterns to showcase a marigold flower. Another panel uses a crochet grid guide with my organic marks to include movement. The last panel focuses on basic shapes and colors commonly found in Mesoamerican embroidery. The final 22 by 28-inch canvas combines all the experimental studies of the panels together creating a floral composition inspired by traditional clothing. The flowers are symbolic of my Mexican ethnicity and American nationality. The marigold and hibiscus are two important flowers rooted in my Mexican culture. The daisy and spiderwort flower are personal to my upbringing in the states. The pieces coexist together through its shared research and color palette inviting bright, lively chroma all throughout the surfaces.
Investigating my identity has integrated itself as part of my art practice. Being mestizo (Indigenous and Spaniard) I have an urge to unravel my ancestry. I embrace my roots by integrating my art with the production of textiles. As an academic scholar I construct my paintings with proper formal qualities using Mesoamerican textile research to guide my craft. After examining textile production in Mesoamerica, I merge these patterns with my own abstraction style to create my own rendition of designs. Mestizaje is the term for a mixture of two cultures and is the basis of majority of my concept. Because of my mixed ancestry, I analyze multiple ideas in one series; Mexican and American, Textiles and painting, Historical and Contemporary. Just like the loom, I sequence my own designs to depict symbolic imagery that represents self-identity.
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American dream; The Land We Want
But Can't Have
2026
Due to the American dream many children of immigrant parents face the struggle of being stuck in-between two cultures. Being born and raised in America only subjected me to that half of my identity, though I am still close to my Mexican culture through traditions and practices I never got to understand the other side, the other land. My series, influenced by Chicano artists in the late 1970’s, Mexican Muralism and Surrealism, explores my identity growing up Mexican in America. My series identifies aspects of an interior space of a home and a landscape to showcase the hybridity of my identity but the desire of wanting to explore an unknown land.
Chicano artists in the late 70’s used their works to represent the community and document their lifestyle to connect to others in a similar position or to educate those who were not familiar. I utilize linework and compositional strategies to guide the viewers around the series starting with cropped images of the Virgin Mary with Roses, the Crucifixion, and a sarape on the floor to highlight identifiers that stand out from my Mexican heritage. These images are found within a bigger painting that displays a living area combining all forms of American and Mexican objects to show cultural hybridity and emphasizes a compositional strategy that makes the viewer observe the whole picture. The addition of fabric for the curtains creates a focal point and diverts the audience to the next painting that resembles a window with its frame and curtains that the viewers can open. The landscape depicted was inspired by the surrealist approach of a dreamy, imaginative land with identifiers of Mexican scenery by incorporating native plants nopales and magueys. With the use of oils, I created depth by layering through glazing and wet on wet techniques to build up my value structure and my palette, derived from Mexican Muralism, enhances the bold, saturated colors that is seen within all individual pieces creating a cohesive series through imagery and formal qualities.
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Behind The Eyes: How We See Color
2025
Narratives aren’t needed for stories.The author doesn’t have to tell me what is happening when I can create it myself. In my body of work, I strive for the audience to have an open interpretation and explore the feelings that my work provokes. As an artist, I work for the viewers to feel something within my pieces and explore their emotions. Since colors have an emotional value, I decided to focus on color harmonies and how they appeal to one another to evoke this feeling within the viewers. The audience will come up with their own stories with the guidance of my abstract work.
In my series, I connected 6 wood panels by using a continuous line that morphs into each panel. Focusing on color harmony I created a body of work that explores abstract elements of gestures, textures, organic shapes, and line work referencing past artists like Kandinsky and contemporary artist V (paints.v). majoring in acrylic paints and texture including mediums, molding paste, clear granular gel, and air-dry clay I include repetitive shapes, forms, and layering in my rhythmic composition to create a sense of balance for the audience to explore their emotional connections to color and how we perceive them.
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