artist statement

No Se Puedes Tapar El Sol Con Un Dedo (You Cannot Hide the Sun with a Finger)

No Se Puedes Tapar El Sol Con Un Dedo is a two-part sculpture created for the Walking Alongside Trauma project, a Canadian initiative pairing artists with individuals affected by vicarious trauma resulting from sexualized violence. For this project, I was paired with an educator who works in sexual violence prevention and is also a survivor of sexualized violence. This pairing encouraged me to acknowledge the colonialism in my work which was conflated with the impact of sexualized violence.

The imagery of the Virgin of Candelaria, surrounded by twelve stars symbolizing light, guidance, and protection, became central to the work. It reflects the delicate balance between self-care and the obligation to care for others in a world that often pressures individuals to suppress their own trauma.

The sculpture is made from a South American coffee sack, coffee beans, encaustic (beeswax combined with damar resin), and Victorian mourning lace. The first part of the work is a necklace of twelve beeswax beads resembling votive candles. Each bead contains lace circles, or inclusions-a term used in both candle-making and gemology-that symbolize the complex layers of grief inherent in trauma. The beads are connected by a continuous wick made from fibres extracted from the coffee sack, twisted into rope, symbolizing solidarity and communal support in the face of trauma.

The second part is a cushion inspired by the ceremonial crown cushions used in European coronations. Instead of velvet, it is sewn from the same coffee sack used in the necklace. The cushion is filled with roasted South American coffee beans. Coffee has long been marketed as a global symbol of the countries of South America, and the coffee sack serves as a medium to reflect on history, labour, and the enduring scars of colonialism that persist in both global trade and individual lives.

Burlap’s rough texture embodies the educator’s labour—their work in sexual violence prevention, their resilience, and the emotional weight they carry in bearing witness to trauma while empowering others. The discomfort of burlap—evoking sackcloth and ashes—becomes a metaphor for both physical and emotional suffering. Traditionally associated with penance and mourning, burlap reflects the educator’s role in confronting trauma while bearing their own. My own discomfort working with burlap, due to an allergy, mirrors the tension of enduring discomfort while offering care. It becomes a physical manifestation of the emotional challenges the educator faces in balancing personal grief with the responsibility of helping others.