When [in the world] one sees nothing else, 

hears nothing else, recognizes nothing else:

that is [participation] in the infinite. 

But when one sees, hears and recognizes only otherness:

that is smallness. the infinite is immortal, that which is small is mortal.

But Sir, that infinite, upon what is it established?

Upon its own greatness -- or rather, not upon greatness.

for by greatness people understand cows and horses, elephants, gold, slaves, wives, estates.

that is not what I mean; not that. For in that context everything is established on something else.

This infinite of which I speak is below. It is above. It is to the east, to the west, to the south and to the north.

It is in fact, this whole world.

And accordingly, with respect to the notion of ego:

I also am below, above, to the east, to the west, to the south and to the north. I, also am this whole world.

-Chhandogya Upanishad

 

 

Statement

My art is rooted in the land that shaped me, and the stories it continuously tells.

I claim the body as a space for narratives that defy categorization, that grow in the peripheries, I seek the animistic territories stored in the depth of thoughts, 

while also building a social practice that centers storytelling and story keeping.

I see the body as a vessel for the most primal creative force, and I know the necessity to dream inter-species and co-create with the earth.

I am interested in the performative maps that the body stores, specifically in connection to indigeneity, nature and resilience, which I explore through a variety of mediums

including photography, performance, and clay.

When I contemplate the earth, I travel to the past and future simultaneously and this act of contemplation, ignites the soul.

 

 

ABOUT:

Karen Miranda-Rivadeneira is an interdisciplianry artist born in Lenape territory (NYC), and grew up in the pacific tropical coast of Ecuador, where her parents and most inmediate ancestors come from. Her work focuses on memory, storytelling and ritual through collaborative processes and personal narratives. Intersectional theories, animism and earth-based healing inform her practice. 

Following these interests she has collaborated with native communities and relatives to create photo based projects. She has worked extensively with indigenous communities in the Ecuadorian Amazon, in the Andean Mountains and more recently in the American Southwest.

She has exhibited widely among places The Portrait gallery at the Smithsonian museum in Washington, DC, Queens Museum, She has participated in the Musee Quai du Branly biennial and received their artist in residence fellowship in 2017. She has participated in the NYT portfolio reviews twice, Fotofest in Houston, in the 3rd Latin American forum in Sao Paulo, Brazil.

In 2018 she was nominated for the Prix Pictet, The Foam Paul Huff Award, The Rolex Mentor & Protégé initiative and was shortlisted for the Hariban Award.

Her first monograph was published by Autograph ABP in 2018.

She is currently a master mentor for the Woman Photograph mentorship program and is a recipient of the WeWomen award.

Send me an email if you want to be on my mailing list and for any other inquiries.

Drop a line, share your thoughts.

contact@karenmiranda.com