FullSizeRender.jpeg
 
FullSizeRender.jpeg
IMG_0928.jpeg

Art by KMG

Adjustments.jpeg

1999


My mother’s brushing my hair, pulling it and hurting me a little. She's nervous, shes getting me ready. It’s 3am and I can see the stars out of the window from the small motel room we’re staying in. It’ time...my parents tell me to be really quiet, that I can't make a noise. My father carries me on his shoulders, my arms wrapped around his head. I lay my head on top of his hair, finding comfort. I can see two men in uniform, their backs turned away from us. That’s when we run as fast as we can, my mom alongside us running too. We arrive at a gas station, waiting for a van to pick us up.                                                    

***

Richmond Hills apartment complex in Atlanta is our first home, my brothers join us the following years. I start at a school where I’m bullied for being the only brown girl. English comes to me like a song, I learned it very fast, by the time I am 6, I could sing anything. Memories rush to me in light speed, as fast as the change always comes, it feels hard to capture it all. We leave Atlanta and move to Smyrna, where we make a home for the next six years. Lawrenceville, Georgia, my first encounter with racism, classism, and queerness. My first encounter with my depression too, who wakes some time during those six years to taunt me for the rest of my life. Back to Smyrna/Marietta, shifting our home every two years. I had six different addresses, but none really felt like home. And now, I find myself across the country in Oakland, California. Home, for now. Will this finally be it?

 
Adjustments.jpeg

NIÑA

SIN PAÍS

 

In diaspora as a child, you don’t know why your friends and teachers are treating you different than your white classmates, why men talk to you and tell you that you’re bonita. You didn't know yet but those remarks were predatory. I ask myself now why are children of color seen as “older” more “mature” and are treated as so by adults, justice system and many other “systems” (education, health, social skills, etc).

 Feeling out of place has always been a constant in my life. This print represents my disconnection to my “home country.“ I haven’t been there since I was four years old; the last thing I remember was seeing my grandma cry as we were leaving to cross the border. Ever since arriving in Atlanta, Georgia in 1999 I always felt out of place. I didn’t think this was home because I wasn’t born here, my family isn’t here, and what am I going to do? I learned English very fast and was a natural learner since the beginning. Back at home I still spoke Spanish with my parents so I was blessed with being bilingual, something that has helped me till now. I’m always going to feel disconnected here in the United States. As an undocumented queer woman, walking down the streets of Oakland is an act of war against this country.

America is never going to truly be my home and I’m OK with that, Mexico also is not truly ever going to be my home after being gone for 20 years. Going back now, being who I am, being from where I’m from, I wouldn’t be received in the same way because they would see me as an American. In that way, I feel I’ll always live in limbo.

*print was made before Kazayra identified as non binary.

 

💕🏳️‍🌈✨

Adjustments.jpeg

MUJER

SIN PAÍS

Mujer Sin País translates to countryless woman. This is a follow up to “Niña Sin País” and is inspired by Ana Castillo’s chapter about undocumented immigrants in her book Massacre for Dreamers. When I had this piece up for my opening show with QAP I would observe people being bothered by me declaiming my “home” county, I was born there but I’ve never had a longing to go back and connect with a country that has brought ,my family pain and no hope. Immigrating to the states didn’t change that for the better, I’d come to realize a few years later, At first in the early 2000s my family and I were doing okay, at least through my child eyes, Everything changed as I was getting into my teenage years,. We were homeless for about a year, hoping from one relative’s house to another because we had nowhere to stay, We lived in a very white town for a year, the year I attempted suicide. For the first time I experienced a deep depression that’ll haunt me for the rest of my life. I was never the same after that.

In my adolescent years i would come to learn about my undocumented status, how people like me were being persecuted, being stopped in the streets for not having a license, how we couldn’t see a doctor and didn’t have access to government assistance, We were/are seen as enemies of the state, when in reality we are just trying to survive. This piece reflects my relationship from the country I am from and the one where I grew up.

*print was made before Kazayra identified as non binary.

 
Adjustments.jpeg

FRIDA


 My mother introduced me to Frida Kahlo when I was a small child, whom she admired due to Fridas strength and courage.

I learned about Frida’s history, pain, and what gave her the inspiration to create her artwork. In studying  about her political beliefs I learned she was a communist who believed in Marxist theories. But, her political messages are stripped out of capitalist, oligarch funded contemporary museums when exhibitions are under her name.

Magdalena Carmen Frida Kahlo y Calderón was an anti-capitalist who was ultimately against the U.S.A. and its imperial practices in Latin America and throughout the world. I portrayed her anti-capitalist and anti-imperialist values in this portrait of her, incorporating communist symbolism , which she pictured in many of her paintings. I also chose to depict her as a saint to queer people , disabled people, and those oppressed by criminal yankee capitalism.

Best portrayed in one of my favorite paintings by her , “My dress hangs there” she paints American capitalism and its inconsistencies . She longed to go back to Coyoacán, Mexico , her home. After being in the USA for 3 years with Diego Rivera , he refused to return , which led Kahlo to produce the painting.

   We also have to acknowledge that Frida Kahlo is a white woman and has privileges indigenous communities in Mexico do not.

Frida didn’t share the life experiences of the indigenous peoples whose dresses, symbolism, and traditions she appropriated for her artwork.

 

Shop Now

IMG_0784.jpeg