“Finding Elsewhere: Selected Works by Maia Cruz Palileo and Jeanne F. Jalandoni” explores how these artists grapple with colonial legacies and intergenerational trauma through embodied practices in Palileo’s Kapatid (sisters) (2018) and Jalandoni’s Take Up the Brown (2018). Additionally, this study assesses how Jalandoni’s Transience (2022) transcends categorical limitations in media, place, and time as a channel of connection to the Philippines. Through the study of the work on paper Kapatid (sisters) by Filipinx American artist, Maia Cruz Palileo (they/them), I assess how Palileo embodies care within their practice. I study Kapatid (sisters) in relation to Dean Worcester’s colonial-era photography of the Philippines which Palileo references in their research. This integrated analysis determines how Palileo’s work manifests in opposition to Worcester’s imperial perspective. In my study of multimedia work Take Up the Brown (2018) by Filipina American artist Jeanne F. Jalandoni (she/her), I examine how Jalandoni embodies her own testimony of navigating historical erasure and historical recovery as a result of residual imperial subjugation. I deconstruct Jalandoni’s usage of Louis Dalrymple’s propaganda cartoon, School Begins (1899), and its close association with the Rudyard Kipling poem, “The White Man’s Burden” (1899). By historically contextualizing her archival references, I examine how Jalandoni’s visual testimony of colonial history is made tangible for viewers. In the second section of my study, I examine Jalandoni’s oil and textile work, Transience (2022) to explore how Jalandoni labors towards a connection with her ancestral homeland while solidifying her own bi-cultural identity as a Filipina American. I delve into Jalandoni’s engagement with family oral history, family photographs, temporal methods, and embodied practices to understand how she forges connections with ancestors, and ultimately, with the Philippines. Furthermore, I examine Transience as an Elsewhere, a methodological model and aesthetic that foregrounds identity-making and reconnection in diaspora.

Cuerpos de Fuerza y Resistencia: Dismantling the U.S. – Mexico Border in the Work of Ana Teresa Fernández and Margarita Cabrera addresses how their artwork maps a geography of resistance that counters the carceral landscape of the U.S. – Mexico border. I apply Michel Foucault’s (1926 – 1984) methodologies of the panopticon to the border as a lens to analyze how Fernández and Cabrera dismantle this structure of power through centering their work on the invisible labor of immigrant women. Foucault’s assertions of disciplinary spaces compare to the unethical conditions in migrant detention centers and maquiladoras. Giorgio Agamben’s (b.1942) study of the concentration camp and theory of bare life also provides a point of comparison between these spaces and harmful treatment of immigrants that Fernández and Cabrera criticize. Through a focused selection of Fernández’s performances and subsequent documentary paintings from her Pressing Matters, Borrando La Frontera, Entre and Of Bodies and Borders series, I analyze how her repetitive and metaphoric acts of labor communicate liberation and autonomy. In a similar vein, I focus on Cabrera’s collaborative embroidery workshops and resultant Space in Between sculptures of Indigenous plants of the Southwest, her vinyl sculptures of domestic appliances, and collaged works on paper from El Flujo de Extracciones. Like Fernández, Cabrera’s aesthetics of labor reveal the disciplinary and abusive institutions of the border, such as the maquiladora, and thus deconstruct these isolating power structures. In considering Gloria E. Anzaldúa’s (1942-2004) borderlands theory, Fernández and Cabrera’s work exemplifies a cultural duality that is integral to disrupting immigrant oppression. I further engage with writer and activist Grace Chang’s gendered analysis on immigration as a framework to address the feminist social justice issues that Fernández and Cabrera explore in their work. Fernández and Cabrera exemplify how centering immigrant women will not only aid in the destruction of xenophobic systems, but also empower stories about women, and invoke a continuous resistance against patriarchal traditions.