Terrestre Celestial
Approximately in the year 1848, a cocoon-shaped ship rips through the atmosphere and lands on now-depleted and uninhabitable Turtle Island. The exact coordinates of this ship’s landing are unknown. Witnesses' oral histories recall a flashing red light ripping through the heavens and crashing onto our terrestrial landscape. The true nature and physique of the creatures that came out of the ship are UNKNOWN. Oral histories claim these beings have no face; others say they only saw glowing light when these entities exited their ship.
These creatures have been hidden for decades but have recently become more active. Geographic data suggest they have recently been found in the Santa Ana River, specifically near Riverside, California. Social media recordings have recently circulated of them roaming the streets of Los Angeles. The earliest reemergence began in 2003 through La Linea (the border crossing). They wear facial coverings that seem to be constructed of the same material as the structures they arrived in. However, each time they are witnessed, they seem to evolve into a new mask and physical presence. Their true nature is unknown, but they seem connected to the earliest Mesopotamian language and the Americas, as their ships appear to be constructed from corn husks. They roam with bells and other sound instruments. Oral rumors state these creatures originate from an interdimensional realm known as “EL REINO MADRE.” How CORN is a cosmic existent resource is UNKNOWN.
This current exploration blurs the lines between fictional supernatural realms and realities due to migration and marginalization (due to all hetero-white structures). It is an ongoing series exploring el reino madre, the interdimensional space; the original realm; the realm of nature, fauna, and protection; the realm of otherness; the bridge realm of memory and time… or, as Gloria Anzaldúa recognizes it, the borderlands. Labor; migration; evolving identity; family and community recordings; maize; corn husks; other natural materials; crops and animals tied to the ancestral lands of the Emmanuel family are the vehicles driving this exploration. Sculptural construction through these materials, as well as performative methods, visualize and sonify portals to this realm. The primary performance conduit for this exploration has become known as the .anónimx.
Where do the heavens, the cosmos, alienness, a bed, an inter-dimensional ship, a womb, a carcass, a heart, anonymity, celestial maps, and phone calls collide with the realities of marginalization due to political borders and structures?
