An Archive of an Indigenous Arts Worker
On Becoming an
Indigenous
Art Historian
I arrive to Art History as a cultural worker and community educator seeking ways to bridge historical analysis with community-centered scholarship.
As an Indigenous feminist, I work within a relational and community-oriented praxis as a way to honor the distinct knowledges, methods, and practices produced by Indigenous artists and scholars. My purpose is to make Art and Art History accessible to disenfranchised and underrepresented communities of color.
I approach Art History through an interdisciplinary lens that allows me to integrate creative practices into my academic, community and artistic scholarship.
My current research broadly addresses the ways community and cultural art-making practices produce embodied knowledges and place-based epistemologies within zines and community art publications.
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Artist Interviews &
Oral Histories
My artist interview and oral history practice centers storytelling as a critical methodology for heritage cultural preservation and intergenerational knowledge production. Through these conversations, I document the creative practices, community histories, and experiences of Indigenous artists, cultural bearers, and knowledge-keepers. Pictured from L to R: Tina Alexis, Sara Sinclair & Marina at the Oral History Summer Institute at Columbia University in 2023.
Contemporary Art Writing
My contemporary art writing explores the intersections of Indigenous arts, aesthetics, cultural memory, and artistic production. I approach contemporary art criticism and visual analysis as a form of relational discourse. Through my writing practice, I aim to uplift the stories, contexts, and insights that inform and shape public engagement with contemporary Native art and artists. Pictured: An artist interview with Zig Jackson published by the University of New Mexico Art Museum in 2024.
Collaborative Presentations
I collaborate with scholars, artists, and cultural workers to present on topics ranging from art, storytelling and Indigenous cultural practices. These presentations aim to bridge academic research and community-based knowledge by highlighting creative strategies for liberation, care and resistance. Pictured from L to R: Moshoula Capous-Desyllas and Marina, co-presenting "Zine-making as a Pedagogical Tool for Graduate Education" at the Humanities Education Research Conference in 2024.
Community Arts Programming
I design and facilitate community arts programming that centers Indigenous creative practices, collective learning, and cultural storytelling. My community arts practice emphasizes artistic expression through workshops, exhibitions, and collaborative projects rooted in care, reciprocity, and community empowerment. Pictured: Buttons made by a community member during a Free Palestine Action at the University of New Mexico campus in 2024.
Archival Research
My archival research practice focuses on community-based and Indigenous-led collections that preserve cultural memory, creative practices, and local histories. I approach the archive as a living site of storytelling and knowledge exchange, emphasizing the role of art and material culture in sustaining intergenerational connections. Pictured L to R: Cheyenne Travioli nd Marina at the National Archives in Chicago during the Newberry American Indian Consortium Fellowship in 2025.
Cultural Arts Practioner
As a multidisciplinary cultural arts practitioner, I work across zine-making, beading, and pottery to higliight Indigenous storytelling, material knowledge, and creative autonomy.
My multi-medium practice honors ancestral traditions while incorporating contemporary modes and mediums of creation. Pictured: Pottery made for a Pueblo pottery course under the instruction of Clarence Cruz (Ohkay Owingeh) in 2024.