I was raised in both Southwest Detroit and Xalisco, MX. My father came to Michigan to work for the automobile industry during the Vietnam War in the 1960s; soon enough, my mother followed. While working on their immigration status, we constantly traveled between both countries, and we existed between both cultures. I attended school in both places, and as a child, I drew my reality any chance I had. I quickly stood out to my teachers and peers for my creativity. I grew up capturing my surroundings with cheap disposable cameras and learned to find beauty in the light and darkness of all that fought to exist in these landscapes and cultures.

In high school, I studied with artist Marcia Freedman, who patiently guided me through difficult art projects. She showed so much enthusiasm for my technique and later displayed my art in a group show at the Detroit Institute of Arts in a gallery that overlooked the Diego Rivera Courtyard. I practically lived at that museum, and the thought of having my art face Rivera's own was an unforgettable feeling. Marcia later paired me with local Detroit photographer Michelle Andonian. Michelle became my mentor and gave me my first real camera, unlimited rolls of film, and the use of her beautiful Eastern Market darkroom. With this camera, I shot my friends, the abandoned buildings in my neighborhood, my family, and myself. It felt big to share my reality with someone outside of my inner circle. Michelle encouraged me by curating my negatives and selecting the best images to print. It made me feel seen and important to be taken so seriously. I was also mentored by Mexican American artist Martin (Marty) Quiroz at Galleria Casa de Unidad in Southwest Detroit. Under his guidance, I pursued the art of storytelling through photography, poetry, and mixed media art. Marty was so meticulous and thrilled by my executions. He displayed my art proudly in community spaces where my peers and the local public could see it, strengthening my connection to my imagination.

During the late 90's, I sought out radical folks that guided me towards clarity, creativity, and my other passions. I learned about social issues while working for Grace Lee Boggs at Detroit Summer, and I dedicated my young adult life to activism and showing up for Detroit communities. During this time, I was guiding volunteers to transform vacant lots into art parks and gardens. We weeded and repurposed trash and abandoned items and used donated paint to beautify our city. I documented this period of my life with film. It felt like second nature to capture those moments, and now I look back fondly on such an important time in history.

I moved to Tuxon, AZ, for a change of scenery and have been a part of this community for almost 25 years. I have served this city in multiple ways, i.e., by volunteering, working for nonprofits, and in the service industry. I immediately felt swallowed up and cared for by the Tuxon creative community. Upon my arrival, I felt encouraged and supported to make art by local artists like Kim Young, Leslie Cho, and Serena Tang, who held safe, sober spaces for someone like me to flourish in. They held me in my growth and grief and supported me through so much turbulence. I feel forever indebted to the amount of love that was shown towards my creative endeavors. I recently met with a local Tuxon friend and photographer, Keith Marroquin, where I expressed this immense, profound sadness towards the lack of art I hadn't created in the last 20 years. He patiently listened and kindly told me that I had just been living, that I was probably ripe with ideas, and that he was excited to see what I had to share. I left his home studio feeling energized and began sketching ideas of how I was going to start making art again.

After having my portrait taken in wet plate medium, I wandered around the studio and felt familiar feelings. I recognized the lenses and the set-up. Soon after I left, creative visions kept me up at night. I felt compelled to learn this format, and this led me to join a local Western Photographic Historical Society facilitated by photographer Mark Sawyer. I quickly purchased my first camera and, soon after, my first lens. The group held backyard workshops that allowed me to try out my equipment, and I fell in love with the first image I made. I felt determined to capture images in the ways of those who I feel most influenced by: the moody work of Tina Modotti, the simplicity of the subject like Mike Disfarmer, and the childlike creative approach of Miroslav Tichý. Photography allows me to show you what I see: the important people and beautiful places that surround me.