Southwest Contemporary // Flights of Fancy // Vol. II:
“There’s a poetry of place that rides the surface of Carissa Samaniego’s work, which though at the surface, remains (as in any good poem) challenging to define.“
Read more of Maggie Grimason’s words about my work in the latest issue of Southwest Contemporary (Flights of Fancy, Vol. II).
Border Art Residency // El Paso, TX // 2021:
I was a 2021 resident at the Border Art Residency (El Paso, TX). Living and working in the US/MEX borderlands, I worked on a number of projects including Coyote Ballad, Americaña, and Five Points. You can listen to my artist talk here.
Colorado Artist Selected for Border Arts Residency (El Paso Times)
Me gusta Americaña y Americaña gusta de Mí // 2020-2022
A decade ago, M12 Studio designed a humorous tribute to the famous work by Joseph Beuys: I Like America and America Likes Me. Commissioned for a Spanish edition design, our version is not a direct translation of M12’s cult-favorite t-shirt, but a way to use invented language to broaden the ever-evolving concept of what we identify as ‘American.’
This is a project of Americaña – current collaborators include Trent Segura and Carissa Samaniego.
The Circle // Gyonggi-do, S. Korea // 2021
My drawings and video are included in the group exhibition, The Circle, at the Czong Institute for Contemporary Art Museum, Gyeonggi-do, South Korea, in September 2021. This exhibition is curated by Leejin Kim, PhD.
Hallelujah // Gallery Factory, Minneapolis, MN // 2021
New work coming to Minneapolis in 2021:
After a year in quarantine exploring the hyper-local, this project is meant to encourage the same exploration of neighbors in Northeast Minneapolis. It includes a print publication of a 26-pg field guide of regional birds illustrated by my 2-yr old daughter and an outdoor sound installation. The audio component is a cacophony of bird song tuned to Leonard Cohen’s omnipresent hymn, Hallelujah.
The Spirit in the Flame // Denver, CO // 2019
Solo exhibition at Union Hall, Denver, CO
From Arielle Meyers, Chief Curator:
“Carissa Samaniego weaves together a story that is set in the landscape of the Southwest and connected to indigenous knowledge, Catholic traditions, and the tools of modern American warfare. She presents her experiences of these borderlands to the viewer through object portraits that utilize natural materials such as mulberry tree branches, petrified wood, volcanic rocks, and trinitite (the light green, glassy, slightly radioactive material left on the desert floor as a result of plutonium-based nuclear bomb testing). She also uses handmade stained glass and mass-produced miniatures of the Virgin of Guadalupe, St. Francis, and Jesus Christ. Samaniego’s work references personal narratives as well as historical ones: the story of the Virgin of Guadalupe’s first appearance in 1531 is interwoven with her childhood memories of the apparition of the Virgin in her Grandmother’s mulberry tree. Her grandmother also witnessed the atomic bomb Trinity’s mushroom cloud in 1945 at her family’s field in Hatch, New Mexico. The beauty, mystery, and toxicity of the Southern New Mexican landscape is remembered through family stories and retold as enigmatic objects both made and collected by the artist.”
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