Where there was fire: Alexia Miranda

Alexia Miranda and I belong to a generation marked by social and telluric movements. Both of us survived the devastating consequences of the earthquakes that affected Mexico City in 1985 and San Salvador in 1986. We both belong to countries where the class struggle, the social conflicts, the economic inequality and, in her particular case, the Civil War and the Postwar Period marked our ways of seeing and relating to art and public space. Alexia Miranda and I could have met in Mexico during the time she lived in that…

Annalisa Barron’s art in motion: In conversation with the artist

With a background in music, film, and visual arts, Annalisa Barron’s itinerant practice is currently established in Rochester, NY where she is developing an ongoing research-based project called Place Projectors. For this body of work, the artist creates cinematic sculptures made of light, shadow, steel, and glass informed by Rochester’s unique imaging history. I met Annalisa Barron in 2018 at the Rochester Contemporary Art Center where she presented The Molok, a performance and object offering of a 13-foot-tall creature, operated by puppeteers in harnesses and quad stilts and made entirely…

A Singular Woman: In Conversation with Sarah E. Webb

Only by writing in collaboration can the artist and the art historian right the woman artist so that her marks are not erased. Sarah E. Webb. Singular Women. Writing the Artist Sarah E. Webb’s practice is, as she says, “comprised of many stitches”, bringing together multiple narratives including her work as an artist, independent curator, writer, and educator. For many years Webb has been actively involved in the local art community in Rochester, New York. This is where we met and where she has dedicated her time to advocate for…