https://www.marinasachs.com/images daily 1.0 2025-01-23 https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/9ab3c41e-a596-4c93-ab21-b2ff6c79b847/C44B31FB-E6DA-4D81-8B3D-6C3835977406.JPG PROJECTS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/bf1eac5d-cc0d-42ae-a6a9-ef233b1eaa0f/tat+polaroid.jpg PROJECTS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1567525098558-IJZFKZPFBFWEL0GKRD7V/Screen+Shot+2019-04-19+at+7.45.08+PM.png PROJECTS - I CAN SEE YOU (2019) Performance and installation in collaboration with Dani Vargas. Selection from 600+ xerox images originally shot on iPhone. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1685999863986-DB96BKBGBV2YIHTW7UQU/fear+over+love+3.jpg PROJECTS These images emerged in 2022, and have been drawn across the six journal’s I’ve kept since. The dialectic between “me” and “you” is intentionally, yet ambiguously depicted through these two characters. This series wants to know where I end and you begin, and how there really is no separation. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1567375221238-MF42I364IEEI0QD7DW1S/Miami1copy1.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1701999659397-HS9Z3MBNE8HHMSZ067ME/INC_2021_10.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1703011582980-CYROGUW28HH76R7RRGN9/Screen+Shot+2023-12-19+at+1.46.11+PM.png PROJECTS Students hold anti-critical race theory signs at Mater Academy Charter Middle-High School in Hialeah Gardens on April 22, 2022. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1703033677553-H7F6YI9H4XUV6PXOK97N/BL_NK+ME+SERIES+copy.jpg PROJECTS Created through a run-in between some self portraits and a spray foam can in a cramped studio space, this series “____ ME” was born. An exploration of surfaces, performance, and looking back at the looker. Shown at Fresh as Fruit Gallery in Deland, FL. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1567381606184-BEKAVIPXXC8HS0QPG3O5/_22_00576.jpg PROJECTS These photos, taken in 2019, are of my friends and community members in La Plant, on the Cheyenne River Reservation. These relationships began in 2015, during the Lakota Youth Speak project; I did not, however, take any photographs until 2019. During 2021, a landscape-only version of this series was shown at 4MOST Gallery in Gainesville, FL, alongside redacted documents from Lakota Youth Speak. This exhibition was accompanied by a facilitated discussion with Indigenous artists, activists, and scholars, on power, identity, and the ways in which whiteness impacts Indigenous photographers and subjects across photo-historical records. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1631653478857-N0Y8WE5RXMYUASWC5LDZ/INC_2021_6.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1707514836785-4T8PFJMU614TR6FLOK49/00P0P_kbByxdlt6SP_0lN0CI_1200x900.jpg PROJECTS The Free Section Collection of Images, 2018- What originally began as an inquiry into the cost of free commodities transformed quickly into an inquiry on “non-things.” Informed by Roy Sorensen’s text Nothing (2022), this project attempts to examine the place that conditional nothings hold in the time-space of American aftermarkets. Combing through the “Free” sections of Florida Craigslist.org sites, these images were selected on three criteria of “nothings:” 1. Non-value: found in the free sections, these listings offer “free” objects "for sale” in a market context. 2. Traces: these images all offer trace evidence of their soon-to-be former owner found through shadows and reflections in each image. 3. Not Photographers: each image evidences shadowy remnants (a la Plato’s cave allegory) of their photographer. While the images are not intended to be photographic artworks, there is still a deliberate attempt to both hide the hand of the photographer, and capture the appropriate information within the frame. At the end of the end of an objects shelf life, therein emerges it’s curb appeal; a fever dream of free objects that, like a phoenix, will have a life after their life is over. https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1681484975263-GEFKX6Y9EXYDCQCE24ZX/BB98BFCC-F84A-43F1-987C-FFCCBE534703+2.JPG PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1703034159872-SYQYN13CBEV1QRMU12KZ/image-asset.jpeg PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1567523158588-YVVAZ77SAT03VCOQQ5RG/2019-01-16+14.02.55+copy.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1567791475742-6SBSBRWLWXH5BPALNS0G/Screen+Shot+2019-09-06+at+1.37.46+PM.png PROJECTS https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/1709652980862-LKNVKVF1YOX6N71QCJ2T/IMG_4030.jpg PROJECTS (RE)PLAYING MYSELF 2024– This series consists of projected scans of childhood film photos, with me physically re-placing (to re-play) myself into these projected images. The resulting photographs oscillate between the grotesque and the comically plausible: school portraits, family snapshots, and probing, intimate images my parents took of me playing dress-up or in costume. All selected images date from before 2006, before puberty. What does it mean to re-inhabit my girlhood body as an adult? What does it mean for my naked chest—“explicit” in adulthood—to serve as the surface upon which my prepubescent chest is projected? Why this impulse to replay and replace myself? The primary text informing this work is bell hooks’ All About Love (1999), specifically Chapter 1, which explores the messages children receive about love, abuse, and power. As hooks writes, “children learn early on to question the meaning of love, to yearn for love even as they doubt it exists.” These images, at first glance, appear as mundane documentation of childhood—clothes I recognize, events stamped in time. Yet, they hold the hidden dynamics of family and community: the unspoken, the actions-yet-to-come, the emotional and physical incest embedded in memory. In the years after these photos were taken, as I “became a woman” through puberty and a changing body, the bright but misunderstood child with undiagnosed autism—desperately yearning to be accepted by other girls—turned into a teenager seeking drugs, attention, survival. The camera accompanied me as it always has, but in this series, what is not shown becomes paramount. I grew up in a family where there was always a camera. Neither of my parents were artists, but they sought to document, to remember, to imprint. In this series, I am entirely dependent on others to take the photos—both the photos of my past and those of the present. I am, as I was in childhood, not the photographer but the photographed: the subject-object in the plane of vision. Are cameras better off in the hands of non-photographers? Am I trying to shield my younger self from being photographed? Or am I a martyr screaming, Take me instead—you don’t want her!? What fantasies make the “girl” a “woman,” and which make her a “girl” again? Both John Berger’s (Ways of Seeing, 1972) theories on nakedness versus nudity and Peggy Phelan’s (Unmarked, 1993) notion of impossibility as the maintenance of desire inform the sexed aspects of this work. As a non-binary person marked by “womanhood,” what does it mean to play the girl? My nakedness differs from that of a man’s bare chest: my breasts sexualize the image of a 4-year-old me. In a pornographic twist, exposing my adult chest to the camera simultaneously reveals my child-self’s chest to the world. Where is the line between child and sex object, between girl and woman? By putting myself back into these images, am I exposing my younger self to more than she’s already endured? https://www.marinasachs.com/commissions-1 daily 0.75 2024-02-09 https://www.marinasachs.com/about-1 daily 0.75 2025-01-01 https://images.squarespace-cdn.com/content/v1/59f13cd112abd983bc0fb54c/10b6fc1b-dcd5-4cb8-ba3e-86459c0b9109/Screen+Shot+2025-01-01+at+5.13.31+PM.png ABOUT - Make it stand out Whatever it is, the way you tell your story online can make all the difference.