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26-Bryant Moya-2
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Living in Sanctuary

Cinthya Santos-Briones

Cinthya Santos-Briones’ Living in Sanctuary centers the emotional, psychological, and political impact of taking sanctuary. Across the United States, communities of faith are offering physical refuge to undocumented immigrants, as the last alternative for keeping families together while they fight for a suspension of deportation.


Living in Sanctuary showcases images that are rarely depicted in the mainstream representation of asylum seekers, showing the poignant, quiet, and tender moments of establishing home, routine, and community.


As an artist, Santos-Briones’ work focuses on a multidisciplinary social practice that combines participatory art and the construction of collective narratives of self- representation. Santos-Briones has been published in The New York Times, PDN, Vogue, Buzzfeed, New Yorker, and The Nation Magazine, among others. She also works at pro-immigrant organizations in New York as a community organizer and is currently an Adjunct Faculty at the Graduate School of Journalism at CUNY.

 

Website: http://www.cinthya-santosbriones.com Instagram: @cinthyasantosb

Artist Statement

Growing up in a town between mountains and valleys inhabited by the indigenous Nahua, Otomi, and Tepehua communities in central Mexico, I was embedded in the influences of pulque, charrería, traditional huapango music, and indigenous cuisine, textiles, and mythology. This inspired me to study ethnohistory and anthropology which became the foundation of my multidisciplinary creative and social practices. As a migrant artist-of-color, I explore identity, language, and culture in transnational  spaces through writing, photography, embroidery, ethnography, collage, herbalism, activism, and popular education, documenting how forced migration traverses and transgresses bodies, considering how plants, rituals, and cultural objects intersect as they migrate alongside us, and collecting and transmitting restorative messages. 

 

My grandparents were teachers in rural, indigenous communities, and their work as popular educators and political activists inspired my own pedagogical praxis. I use popular education’s methodologies to foster symbiosis between teachers and students to make both learning and teaching more accessible. Anchored by a deep commitment to my communities and methodologies of participatory art, I work with migrant communities to construct collaborative narratives as embodied motion towards collective healing. I work in partnership with other activists, social movements, community organizations, and alternative cultural spaces to raise awareness about issues like incarceration, deportation, and lack of access to healthcare that disproportionately affect migrant communities.

 

Forty years ago, my family emigrated to the United States in search of the ‘American dream’. The ongoing traumas of family separation and experiences of being undocumented highlights the urgency of recording and sharing our migration stories and increasing intergenerational awareness of ancestral healing knowledge found in plants, rituals, altars, and embedded memories. I am currently experimenting with alternative historical cameraless photography techniques such as cyanotype, lumen, prints, and antitypes, in addition to expanding my practice with other disciplines like textiles and sculpture.

About Cynthia Santos-Briones

Cinthya Santos Briones is a visual artist, popular educator, and community organizer with indigenous Nahua roots based in New York. She studied Ethnohistory and Anthropology and for ten years Cinthya worked as a researcher at the National Institute of Anthropology and History in Mexico focused on issues on indigenous migration, codex, textiles and traditional medicine. Cinthya holds an MFA focus in creative writing and photography from Ithaca College.

 

As an artist, her work focuses on a multidisciplinary social practice that combines participatory art and the construction of collective narratives. Through a variety of non-linear storytelling mediums she juxtaposed photography, historical archives, writing, ethnography, drawings, collage, embroidery, and popular education. She is the recipient of fellowships and grants from the Magnum Foundation (2016/2018/2020), En Foco (2017/2022), National Geographic Research and Exploration (2018), We Woman (2019), National Fund for Culture and the Arts of México (2009/2011), Wave Hill Art Residency (2023), etc. 

 

Her work has been published in The New York Times, Pdn, California Sunday Magazine, Vogue, Open Society Foundations, Buzzfeed, The Intercept, New Yorker,  The Nation Magazine, La Jornada, among others.  She is co-author of the book “The Indigenous Worldview and its Representations in Textiles of the Nahua community of Santa Ana Tzacuala, Hidalgo”. And the documentary, The Huichapan Codex.

 

Cinthya has worked at pro-immigrant organizations in New York as a community organizer on issues such as detention, education, and sanctuary. Currently she is an Adjunct Faculty at the Graduate School of Journalism at CUNY.Cinthya is part of “Colectiva Infancia” (Childhood Collective) made up of a group of anthropologists who works through ethnographic and visual research on studies around childhood in relation to migration, violence, urban studies and epistemologies of the Global South.

Sanctuary representation by Luna Baez. Luna is a young activist, who lived with her mother, Jeanette Visguerra, in Sanctuary and together with her family fights for the rights of immigrants. 2019, Denver Colorado.

Portrait of Roberto Baez outside his home in Denver Colorado. Roberto is the third son of activist Jeanette Vizguerra, since 2016 he has fought with his family to stop his mother's deportation order. Roberto regularly attends meetings, marches and protests against family separation. January 2019, Denver, Colorado.

``When I see this picture, I think that I'm there... I have been locked in here for a long time, I do not go out or take the air, I can not leave. You know, like in prison.” Kadhim Al-Bumohammed,65, is a muslim refugee from Iraq. He came to the US in the 1990s, during the Gulf War. He worked as a linguist for the four army departments of the US military from 2004–2009 in Fort Irwin, California. He trained thousands of soldiers in those five years, and won over 15 medals for his service. Kahdim has three children, all US citizens. Kadhim has lost three appeals to reinstate the refugee status he earned helping the US military in Iraq and California, due in part to misdemeanor charges in 1996 and a missed ICE court hearing. Then the travel ban triggered a roundup by ICE of more than 1,000 Iraqi immigrants. While a federal judge in Michigan ruled that no Iraqis would be deported, ICE is not deterred from detaining refugees on removal status and holding them in custody. People can stay in detention indefinitely. Since July of 2017, Kadhim has been living in the basement of the First Congregational UCC, in Albuquerque, New Mexico, avoiding deportation. He spends most of his time in a small room. “I have insomnia, then I sleep in the morning. I cannot sleep, this got worse when somebody killed one of my children. It was very painful––I could not even bury him because of my situation. I can not leave this church.” Kadhim has serious health problems, including diabetes and heart and respiratory problems. “Since I've been here, I've become sicker. Since my son died, I have not left this room. I feel more sad, more guilty of everything my family is suffering because of me,” he says. “Sometimes I like to look at this image with trees, because I feel the air. You know, I was also a refugee in Saudi Arabia. For 5 years, I lived in camp in the desert,” says Kadhim, “It is not the same to be a refugee in a church, at least in the desert I was not afraid. I could go outside.”

Koran prayer rugs owned by Sujitno Sajuti, a migrant who took refuge in sanctuary at the Unitarian Universalist Church in Meriden, Connecticut, to avoid deportation to his native Indonesia. Sujitno and his wife, Dahlia, have been living as refugees at the Unitarian Universalist Church in Meriden, Connecticut, since receiving a deportation order in October of 2017 to return to Indonesia, their country of origin. An office on the second floor of the church was renovated as a dormitory while they waited for Sijutno’s deportation order to be stopped. The room is very small with one window, a bed, a desk, and a closet. Sunjitno has been living in the US since 1981, when he arrived on a Fulbright Scholarship to study for a master’s degree at Columbia University. He then went on to earn a doctorate degree from the University of Connecticut, where his visa expired during his tenure. He stayed in West Hartford with his wife, who worked as an Indonesian cook and teacher. The couple is known in the city for their commitment to cultural education. After 9/11, many Muslims, including Sujitno, had to register at immigration office. In 2003, a federal judge ordered him to leave the United States. He was arrested by ICE agents and detained for 67 days in 2011. He lived with temporary stay status until October of 2017, when he resorted to taking sanctuary. 2019, Meriden, Colorado

On the left, Dulce Carvajal balancing on the rail of the Chapel inside Holyrood Church with her sister Daniela, on the right, while their brother David cries for not being able to get on the sanctuary rail as trapezists with them. During their free time Dulce, Daniela and David play in different spaces inside the church as if it were the backyard of their new house. Dulce ten, Daniela nine and David three years old live with their mother, Amanda, since mid August of 2017 at the Episcopal church of Holyrood in Washington Heights, in northern Manhattan to avoid the order of deportation against their mother. September, 2017, New York City, USA.

Drawing about the meaning of family made by Bryan Moya, 10 years old. Who has accompanied her mother, the Peruvian immigrant Ingrid Escalada in the fight against her deportation. Since 2017 they have lived in sanctuary at the Universalist Church in Boulder, Colorado.

Drawing about the meaning of Sanctuary by Bryant Moya. A 10-year-old boy who has lived as a refugee with his mother, Peruvian migrant Ingrid Escalada, since 2017 at Sanctuary at the Unitarian Universalist Church in Boulder, Colorado. 2019, Boulder, Colorado.

Nelson Pinos sheltering his son Brandon in the room where he sleeps. Nelson took sanctuary in 2017 at the church at First and Summerfield United Methodist Church, New Haven, Connecticut. In 2021 he Granted Stay Of Deportation and Leaves Church Sanctuary. 2018, New Haven, Connecticut

David's Mickey Mouse toy lies on the floor of the room where 6-year-old David slept with his mother Amanada and his two sisters, Daniela and Dulce in sanctuary as refugees at Holyrood Episcopal Church in Washington Heights, Manhattan. David loves Mickey Mouse,” says Amanda. “It’s his favorite character.” 2017, Manhattan, NYC.

Portrait of David Carvajal on top of a table adorned with images of Mickey Mouse celebrating his birthday. On January 10, David turned 3 years old, his mother, Amanda, organized a small party at Holyrood Church, along with some other children of the congregation. There were piñatas, sweets and cake. ``Today, I wanted to be happy for David's birthday, it's been very difficult months for me and my children. Sometimes I feel I can not breathe, I no longer have the strength to keep fighting, I do not wish anyone this.`` says Amanda. January 10, 2018.

Portrait of Victor Daniel in the church of the Fourth Universalist Society, in Manhattan, where he lived with his mother Aura Hernandez as refugees to avoid being deported to his native Guatemala. Manhattan, 2018

Drawing about the meaning of Sanctuary made by Zury Baez, 7 years old. Zuri is the daughter of activist and migrant Jeanette Vizguerra, the first woman to enter a sanctuary during the Trump administration at the national level. 2019, Denver Colorado.

After an evening shower, Daniela, 9, (left) and her sister Dulce, 10, (right), wait for their hair to dry in a church pew. ``We never thought of living in a church,`` says Dulce. “I feel there are ghosts all around me and they see me. But I also like living here. It is a beautiful place.” Daniela, Dulce, and their younger brother, David, live with their mother, Amanda morales, as refugees in the Episcopal Church of Holyrood in New York City, avoiding deportation back to Guatemala. They left their house, school, and friends behind in Long Island. It’s not been easy. Amanda was the first undocumented immigrant to take public sanctuary in the city of New York in three decades. “Dulce, do you remember how we had fun in the summer? With the chicks and our friend Sheila? I like summer, because we do not have classes and we can swim. Really, Dulce that in our home we have a pool in our backyard, and we have a lot of fun? I hope to go home soon and that Trump doesn't deport my mom,`` says Daniela. During their free time Dulce, Daniela, and David play in different spaces inside the church as if it were their backyard––running, laughing, and playing hide and seek.

featuring

Cinthya Santos-Briones

Exhibition Dates

February 18 - March 19, 2023

Produced by

St. Ann's Warehouse

In partnership with

Good Chance Theatre and Photoville

Category
Public Art Works
Tags:
2023 Exhibit
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