kaory (she/they)is an indigenous (wixarika and na’ayarite) scholar and visual artist with a focus on ceramics. she was born in tepic, nayarit, mexico before migrating to los angeles as a young child. their art is informed by their cultural background and lived experiences. their work and research include identity formation, media representation, systems of communication, and environmentalism as they relate to indigenous futurism. kaory is a recent graduate of the university of california, berkeley earning degrees in media studies and art practice in 2022. her work has been included in various programming by the art department including extro-introspection: senior thesis exhibit (spring 2022), forgiving the forgotten (fall 2022) honors exhibit at worth ryder gallery. their work has also been featured in the larger bay area at the berkeley art center, empire seven studios in san jose and works/sanjose. the artist currently resides in unceded tamien – muwekma ohlone land/ san jose, california.
the work that i’m interested in producing is reflexive and connective. following an intuitive approach, my artistic process relies on cultural inheritance to influence ideas and guide bodies of work. by mixing states of being, the gap of antiquity and modernity are shortened in an attempt to balance the multiple facets that make up one’s identity. with this in mind, the spatial differences serve to remind us of a sameness; intertwined by marked experiences, interests, and other attachments. we’re all connected, tied to one another and the world around us. working in the vernacular of craft, i am able to take traditional customs and expand upon them. through historical inquiry and theoretical frameworks, i am able to develop a lexicon of imagery and language to question and pursue themes of personhood, colonization and reindiginization.
what is taller kupuri?
(ta ︎ yer: workshop - in spanish & ku ︎ pu ︎ ri: soul - in wixarika)
is a vision; a hope for the future. a community space where folks are welcomed and encouraged to explore their artistic talents. access to the arts has been a long-standing challenge for underrepresented communities. i come from a low-income, immigrant, undocumented, single-parent household and struggled to find creative outlets growing up. due to social and financial limitations, i had to find a way to approach art in a way that was accessible for me -- that is why traditional native knowledge of art and crafts are so important to me because creativity is a generational legacy. i have generations of land keepers, weavers, historians, dreamers, lovers & story-tellers, etc. to rely on. i hope to be a source of support for people by offering my knowledge. spread their teachings, keep that giving spirit going and provide assistance whenever possible. creation is a source of resistance and radical self-exploration, our communities deserves places that celebrate their unique vibrancy and resiliancy.