The Coralina Triptych installation is a trinity monument to survivors of the conflicting reproductive health and climate crisis above Miami’s waterline-beyond its redlined neighborhoods. 3 Mother Mold monuments created by, and for Q+BIPOC families, occupy a Catholic sanctuary garden, Flan Boyan blossoms, between a fountain of youth, a fractured ceramic Moche vessel that is shaped into a cross and a marble, Madre Maria statue. The abject fertility effigies composed of seaside debris are cast in construction materials and shaped into a “Mother Mold” representing pregnant Q+BIPOC Miami mothers. Resisting the texture and complexion of the American Castas system (racial hierarchy), the retablo triptych serves a dual purpose, as a welcoming and cautionary sign for endangered flora, fauna and activists.
Litter collected along Miami Beach after tropical storms: intimate environmental debris. Detritus, installed at the Cuban American Catholic Archdiocese of Florida, in the Allapattah (Seminole word for alligator). The Archdiocese houses the largest collection of art & antiquities including a collection of indigenous American artifacts acquired during colonization.
Born in the Everglades, raised Tinkuy (queer) and Ital between Homestead, FL and the Caribbean, Coralina Rodriguez Meyer is a Brooklyn/Miami-based, mixed race indigenous American (Muisca/Inca) artist & urban designer. Coralina’s Quipucamayoc (culture keeper) practice spans, documentary sculpture, moving images and immersive installations, created in collaboration with social & environmental justice leaders and her Q+BIPOC neighbors. Rodriguez Myers direct activism, visual art, architecture, archive work interprets and meditates structural violence, often associated with mainstream American mythology, into performances that challenge what seems to be normalized rites of passage. These works are executed in collaboration with her barrio (community) to build civic agency.