Sarah (sass) Biscarra-Dilley is, according to her mother, half-Mexican and half-criminal. A multi-disciplinary artist, weaver, tortillera and witch, her work explores the spaces between the worlds; between ancestral lines, between gender and gender roles, between past and present, between sacred space and living space, between personal authority and collective responsibility, between solemn attention and necessary irreverence. She likes dry heat, datura blossoms, musty textiles, strong coffee, tight skirts and sharp tongues. She lives in San Francisco below the mountains and above the sea.

can people wrap it up with this “indian summer” crap? because, let’s be real, if one considers whose lands we are on, they’re ALL “indian seasons.”

27.Aug.14 3 weeks ago

"please thank you i’m sorry"



original stock footage courtesy of prelinger archives

other footage from BLACK SALT: the initiation

thanks for nothing BIA

15.Aug.14 1 month ago

take me back to the land of fast ass iguanas and passionfruit margaritas

#blacksaltcollective the cristalino collaborations (at mišupašup)

prayers for a friend (at mišupašup)

Sarah Biscarra Dilley +
Grace Rosario Perkins


mixed media/installation

dimensions vary

Passage and Place

Alley Cat Books
San Francisco, CA

National Queer Arts Festival 2014

Using thread to document the current status of Indian land held in trust by the federal government and creating alternative visual tools to mark landless and displaced tribes through three dimensional forms, this cross-tribal collaboration intends to draw attention to the shifting planes of enclosure and extraction: the colonial division of space is no longer limited to land but expanded to the minerals and water beneath it as well as the skies above. Layering textile, sculpture, illustration and family photographs to embody these multi-scalar struggles, the installation contends with the complexity and interdependence of personal and collective experiences. A visual challenge to the joint projects of attempted Indigenous elimination and the carving up of space according to colonial whim, these textiles-as-cosmology refuse to separate our cultures of origin from site, acknowledging that our languages, ceremonies, and senses of self are bound up in the questions of displacement, migration, and home.

02.Jun.14 3 months ago

sample materials from upcoming collaborative work by grace rosario perkins and sarah biscarra dilley

passage and place

National Queer Arts Festival 2014