Angeles Salinas embraces evolution. When I last spoke with Salinas, we discussed her Spring 2024 MFA exhibit. In that exhibit, she reflected on how her experiences as an immigrant, a single mother, and an artist converged to shape what ultimately became a successful show.
Now, her solo exhibition, Navigating the Labyrinth, is on view at Fl!ght Gallery at the Blue Star Arts Complex. Walking into the space, I was immediately struck by the different approaches and perspectives that Salinas’ work exudes, both physically and metaphorically. This new body of work reveals a raw and open response to her surroundings and the times, capturing a deeply personal journey.
Salinas creates sculptural islands, with each occupying their own pedestal. Collectively, the sculptures form her Archipelago series. The term “archipelago” refers to a group of scattered islands, evoking a sense of fragmentation and distance. By presenting each island separately, yet in relation to the others, Salinas highlights themes of isolation and interconnectedness, prompting viewers to consider the spatial and conceptual gaps between them.
Archipelago: I Am No Lifeboat presents a profile sculpture of Salinas’ face. Near the end of her hair, a nest-like structure cradles miniature chairs that rise from within. These chairs suggest occupied spaces, such as thoughts, recollections, and dreams, that are materialized in this tangible form. Chairs allow rest, work, and conversation to happen. The chairs symbolize relationships, obligations, and societal expectations embedded in the artist’s consciousness — simultaneously a burden and a site of growth, shaping her identity even as they weigh upon it.
Angeles Salinas, “Archipelago: I Am No Lifeboat,” 2022, acrylic paint and found objects on low fire ceramic. Courtesy of Angeles Salinas
Archipelago: Forsaken Place shifts focus to a different part of Salinas’ body. From the mouth of this ceramic piece rises a twig and a stitched blanket. The blanket references a lineage of care, creativity, and craftsmanship passed down through generations. Salinas’ grandmother was a seamstress, and sewing is a tradition rooted in her family.
Yet, the sculpture also carries a somber undertone. If the mouth is “forsaken,” it suggests how women’s voices have often been overshadowed by the roles they are expected to fulfill. However, by exhibiting this piece in a gallery space, Salinas reclaims that voice, transforming an act historically associated with domestic labor into one of self-expression and autonomy. She challenges what “women’s work” could mean for Mexican women.
Angeles Salinas, “Archipelago: Forsaken Place,” 2022, acrylic paint and found objects on low fire ceramic. Courtesy of Angeles Salinas
Turning our attention to the gallery wall, viewers find Salinas’ Malagros: they are Salinas’ spin on traditional milagros, which are small charms in Latin American culture that symbolize prayer. As I have previously written, “Malagros” is a term coined by Salinas, and they portray the negative answer of the mind to the endless search for answers in our lives. The Pin Cushion piece is situated within a frame of measuring tape. Salinas inserts several sewing needles into a pin cushion with this artwork. Painted clothing pins steady a spine. As a male art historian, I initially missed the deeply personal resonance of this piece, a realization that only became apparent in the hours after I saw this artwork in person.
Pin Cushion is a visual metaphor of the womb. The sewing needles, piercing through the cushion, symbolize the physical pain associated with childbirth, while the clothespins securing the spine hint at the burden of maintaining composure and strength. Salinas reinforces the idea that the womb — as a place of creation — is also a site of pain and conflict.
Angeles Salinas, “Pin Cushion, from the Malagros Series,” 2025, tailor’s measuring tape, acrylic paint, thread, dimensions variable. Courtesy of Angeles Salinas
Angeles Salinas, “Pin Cushion, from the Malagros Series,” 2025, tailor’s measuring tape, acrylic paint, thread, dimensions variable. Courtesy of Angeles Salinas.
Navigating the Labyrinth shows how Salinas navigates expectations for Mexican women. Salinas pulls us into a deeper reflection on the complexities of identity and the struggle between tradition and self-expression. There is constant tension of being both shaped by and resisting the forces that seek to define us. As we encounter her work, we are forced to confront our own preconceptions, recognizing that the labyrinth that Salinas navigates is one we all share in some form. We are all searching for meaning, understanding, and ultimately liberation.
Navigating the Labyrinth is on display at the Fl!ght Gallery until February 28, 2025.
