An artist with a writing problem. Sees different worlds where certain "if's" could stand the question, and wants to make them. Plays at reinventing, painting, and letting the current tides shape her/she/hers. Bilingual, writes because language is the shortcut to humanity, but is obsessed with images because of the impact of Ideas as Movement, (or is it theatre.) Lucidly avant-garde, quixotical perhaps, with chaplinesque vibe, enjoys making plays that are on-the-further-side of human (ultra-humanism)—tragedy on its head, ridiculous at best, but as real as the rest.
A recent MacDowell fellow, where she had the freedom to create and enjoy the company of chipmunks, believes that—yes— art is the start of all freedom. Born and raised in Ciudad Juaréz, spending formative years in Zacatecas, is grateful for the freedom in art and wonders about Latin America, at war with itself, and if it's education and art that can replace hatred and guns.
She has been called a hopeful existentialist, and her work ranges from "an emotional disco ball" to "playful and soothing" to "beautiful and grotesque" as well as "from another plane." Her work is inherently Mexican and infused with high-desert roots. Her Frontera Aesthetic is an endless well, built stone by stone by her scholarly ancestors who, as both historians and educators, reshaped the state of the North towards the positive, sustainable, and ecological—if only for a century. A border-dweller in self and influence, in-between is all she's ever been.
Selected Writing Credits:
Sweep (World Premiere: Aurora Theatre, GA 2017; Lincoln Center Director's Lab, NY 2016); Coffee & Whiskey, IL 2018; Finalist National Latino Playwriting Award 2017, Carnaval Festival of New Latinx Works, IL 2015; The Brooklyn Generator 2014 Selection published in "Scenes for Latinx Actors.")
Ash Tree ( Kennedy Center National TYA Playwriting Award, 2010; ASSITEJ Denmark/Sweden, 2011; World Premiere: Duke City Repertory Theatre, 2012; Bonderman 2011; Fourth Wall Productions Pop-up On Site Series 2012.)