The title of this exhibit was adapted from a conversation with Beata Tsosie-Peña, Environmental Health and Justice Program Coordinator for Tewa Women United. She urged us to say these words to water in order to acknowledge how water nourishes and cares for us, and to take responsibility for our ecological relationships and actions. We took this to heart, experiencing the living land through these words. We fully acknowledge that we are speaking from the homelands of many indigenous people and give thanks for the living mountains, valleys, and waters which sustain our lives. During the Fall of 2018 we visited the Headwaters of the Rio Grande, Wild Rivers on the Rio Grande, the Greater Chaco Region, Bears Ears, the Madrean Sky Islands, the confluence of Turkey Creek and the Gila River, and White Sands, learning about ecological, environmental, and social issues in each location. Learning from and with place and its inhabitants, we responded to this research by creating individual and collaborative artworks at each site. This exhibition features works created in immediate visceral response to encounters in the field, investigating land use, rootedness in place, cultural engagement, migration and pollination. These works seek to find ways of healing the illusory divide between human and more-than-human.

John Sommers Gallery

University of New Mexico

Albuquerque, NM

December 3-14, 2018

Gallery Hours: 9am – 4:45pm


Sarah Canelas

Brionna Garcia

Erin Gould

Xena Gurule

Kyle Holub

nicholas b jacobsen

Blaise Koller

Rowan Willow

Jessica Zeglin

Thank You, I Love You, I’m Sorry, exhibition overview

homes we’ve never known, Jessica Zeglin
Field Recording
Participants: alkali sacaton, chamisa, ephedra nevadensi


Nonfunctional Paper, Xena Gurule
plant based paper

Water Language, Brionna Garcia
water, glass, cardboard, wood, chiffon, acrylic

A collection of images from this year’s field journeys (left).
Brochures from nicholas b jacobsen’s “our bodies of water” trail guides – performances that occured off-campus during the exhibition.

The Fading Brightness of the Womb, Blaise Koller
cotton sheet dyed with clay and prickly pear juice, apricot and willow branches, plywood, batting, ritual objects

This is Not Final, Erin Gould
6,948 Kentucky coffee tree seed pods, my body, video projection

when the cells of my body would move with the wind, Jessica Zeglin
wood, field recording

Yucca Grotesqa, Kyle Houb
yucca fiber rope, flower, sheet metal

Informational panels and video describing four Creative Field Projects (A Garden: The Birds Arrive, NeoRio Roots ~ Raices, Greater Chaco Art Zines, Bats Without Borders Aganveganza) from the Fall of 2018.

sometimes what lies in the open is invisible, nicholas b jacobsen
digital drawing and text