THEY ARE OLD WORDS.
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.
36” x 16.25”
Using a combination of found print media and favored family photographs, this work tracks the unstable movement of history and narrative; critiquing the dominant voice that seeks to silence Indigenous lived experience through fixed understanding and projections of settler consciousness.
Call for Papers: Extrapolation special issue on Indigenous Futurism
Extrapolation special issue on Indigenous Futurism, edited by Grace L. Dillon, (Anishinaabe), Michael Levy, and John Rieder.
In the last decade and a half, a number of scholars have explored the way that SF throughout the last century and a half has borne a close relationship to colonial, and…
featuring the worldly vessels of the ass-trally projected members of black salt collective
my face in art history class when the teacher explains Jackson Pollock’s work as related to “Indian Sand Painting” #settlercolonialism #wowmuchpollockveryindiansandpainting (at San Francisco Art Institute)