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<channel>
	<title>Christine Cortes</title>
	<link>https://christine-cortes.com</link>
	<description>Christine Cortes</description>
	<pubDate>Tue, 06 Jan 2026 17:18:17 +0000</pubDate>
	<generator>https://christine-cortes.com</generator>
	<language>en</language>
	
		
	<item>
		<title>Divinidades Atrevidas, ongoing</title>
				
		<link>https://christine-cortes.com/Divinidades-Atrevidas-ongoing</link>

		<pubDate>Sun, 07 Aug 2022 01:35:38 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Divinidades-Atrevidas-ongoing</guid>

		<description>
	Divinidades Atrevidas&#38;nbsp; (*working installation*)(2021-ongoing)
35mm film, digital&#38;nbsp;
 I am currently working on an ongoing series of self portraits (titled Divinidades Atrevidas) that intersects between past and present, by documenting my life stages of growth, depression, mending grief, death, and spiritual work tied to my ancestors and the land we come from, that also coincides with my personal practice of trans-generational healing.

This photographic series began the week of my father's passing in 2021 and is currently ongoing. As it was already an emotional and transitional year for me, I decided that week to start focusing on self portraiture and leaning into an undeniable intuition, not knowing that these initial images would be taken the same hours that my father passed away. The images anchor different moments of my life since then. 
Using double exposures, abstraction of forms, and multi compositional layering through 35mm film, this series approaches vulnerability with interpretive moments in nature and landscapes superimposed with my body with more passive reflections of each composition, and more active experimenting in material execution as the month's passes. Documenting joy intertwined with grief in my life within photography is a tool I use to visually express my connection as a vessel to the spirit world and my ancestors. Similar to the generational narratives intersected with Gabriel Garcia Marquez’s “100 Years of Solitude”, these images have been composed by form in space to be a vessel for all of the past, present, and future to be documented in one frame. 

All of the processed images created in this project as of now have been documented in a "divine timing" and intuitive manner through my day to day life. [One example of this approach that merges an intuitive moment with a form of staging is the last images that I've submitted with my body. I was alone in my bedroom changing, and the sunset was gleaning through the window. I have a piece of plexiglass art in my window that I had etched different indigenous motifs and symbols of the Calima and Muisca tribe of pre-colonized Colombia. Once I was completely nude, the sun dramatically glowed into my bedroom and I realized that all of the etchings were shadows on my body. I quickly grabbed my camera and began taking portraits until the sun faded into the horizon. I titled these images: Venus Calimense I &#38;amp; II.] Each title to the images submitted as a poem to articulate the complexities of my life within the last few years of this self portraiture series. Each image is a vessel that represents myself vulnerably, the flowers that bloom only at night, the layered reflections of a window I had looked at for 3 periods of my life stages before, Being in a room full of people and feeling completely alone, the infinite bloom of native plants into the soil I cried into..




*This ongoing project is made by possible a Miami Dade Individual Artist Grant
(Spring 2022-2023 Cycle)
(Fall 2025-2026 Cycle)

Click on the images to expand view

1. Roja De Alma.
2. When You Died I Felt You Near Me
3. Yearning To Be
4.&#38;nbsp;Y Con Su Espíritu
5.&#38;nbsp;In Your Contempt I Reconciled, In my Forgiveness You were set free,
6.&#38;nbsp;When I was Seven, When I was Fifteen, When I Was Twenty Four
7.&#38;nbsp;Venus Calimense I *
8. Venus Calimense II *
9.&#38;nbsp;Entre Hoy Y Cien Años De Soledad10.&#38;nbsp;Everything I wish I Said But Never Did
11.&#38;nbsp;“But That Life Obliges Them Over and Over Again To Give Birth To Themselves”
12.&#38;nbsp;Saludos De Los que caminen conmigo,
13.&#38;nbsp;“When I Love Myself, I”
14.&#38;nbsp;"y que en cualquier lugar en que estuvieran recordaran siempre que el pasado era mentira."
15.&#38;nbsp;Lo Que Te Sana A Veces Duele
16.&#38;nbsp;Donde Los Shamanes Y Yo Encontramos Las Verdades,
17.&#38;nbsp;Te Amaré En Cada Siglo De Vida
18.&#38;nbsp;Mi Viejo is Singing Bird On The Wire Again
19.&#38;nbsp;For Fear of Feeling Disposable
20.&#38;nbsp;In A Room Full Of People I Feel Alone
21.&#38;nbsp;Divinidades Atrevidas
22.&#38;nbsp;Surrendering
*= Omitted from public viewing
	

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</description>
		
	</item>
		
		
	<item>
		<title>An Informal Eulogy, ongoing</title>
				
		<link>https://christine-cortes.com/An-Informal-Eulogy-ongoing</link>

		<pubDate>Tue, 06 Jan 2026 17:18:17 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/An-Informal-Eulogy-ongoing</guid>

		<description>
	
[working project] “An Informal Eulogy”
Concurrently, I am currently working on an archival book titled "An Informal Eulogy" that indexes 72 years of my father's life as a self-taught painter and immigrant Colombian who left Bogota in the 1960's for "The American Dream". Positioning myself as the "archivist", I have spent hours organizing slide films and restoring images of his paintings, tracing oral histories of friends and family, and personal anecdotes of my life growing up. In finishing this book, my intention is to create an accessible book and public archive of my father's cataloged work.&#38;nbsp;Throughout the last year, it has become part of my practice to archive my father's paintings and journals. These artifacts are extensions of his vulnerability and the spaces where he existed during his phases of isolation. The accompanying journal entries, and other artifacts to these paintings detail his plans for creative execution and the emotions that surfaced from being on a path that he walked alone. This has created a meditative conversation, seeing him not as my father- but as an artist in the purest form and as a beautiful man in a world that taught generations of men of color that they are not beautiful, that they need to be strong through repression, passive through discrimination, dominating in a structure that never allows vulnerability.&#38;nbsp;This project functions as a conversation between my late father and myself, one that examines the relationship between identity and immigration, loneliness and solitude, and grief and generational healing.

As vulnerability is a shared thread in this project, I have also begun to produce a series of cyanotypes that share personal entries from my father's sketchbook,&#38;nbsp; as the third part of this project. The cyanotype compositions come from different scanned pages that highlight his thoughts, his poetry, drawings, fragments of his favorite song lyrics and book quotes, and his personality. This creates a space where I can use the sun to expose his intimacy as a Colombian man born during 1945 "The Silent Generation", as an artist, as an immigrant who came from a poor family to work an industrial labor industry in the United states. This part of the project allows me to collaborate with my father through photography as his child, instead of positioning myself as the archivist in the book.


&#38;nbsp;“José M. Cortes (1945-2021) was born in Bogota Colombia, emigrating to New York at 17 as a self-taught artist.He spent his entire life painting, drawing, photographing, reading, studying the masters, dreaming, and romanticizing. Jose Cortes painted portraits of people who inspired him, portraits of people who commissioned him, and the portraits of strangers that he would curiously offer to paint. Along with portraits he also painted the landscapes of environments he had lived in throughout his life. Jose was never accepted by institutions and had no formal degree in art, but he kept a disciplined artist practice. Not having the formal language for a contemporary art setting, his work was never exhibited. He was employed as an airplane mechanic until retirement and a car mechanic until his last breath.&#38;nbsp; In his late 60s, José suffered a stroke, leaving his dominant right hand impaired with limited mobility, this led him to re-teach himself to paint and write with his left hand. After living and working in Miami for almost 40 years, José passed away in his home-studio at 76 years.
 
 




	Here are a few of the selected samples of my father’s oil paintings.
Click on the slideshow to expand view1. Kiki (I),2005-06, 29.5” x 23.5”
2. Retrato de Gabriel Garcia Marquez,2018-21, 29.5” x 23.5”
3.La última Cena,2000’s, 22.5” x 28.5” 
4. La Candelaria (1),2017-2019, 19.5” x 25”
 5. La Candelaria (2),2017-2021, painted with left hand, 24”x18”
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</description>
		
	</item>
		
		
	<item>
		<title>Feeling seen, ongoing</title>
				
		<link>https://christine-cortes.com/Feeling-seen-ongoing</link>

		<pubDate>Tue, 23 Jul 2024 23:26:58 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Feeling-seen-ongoing</guid>

		<description>
	Feeling Seen (ongoing)
Here lies a collection of images are independent in their own existence, and never quite having a fit context or message to be shared with..
 Throughout all my years as a practicing artist, I always load a roll of film with a project in mind, or theme, or sense of purpose, but there are always a few images from incredible fleeting seconds that I can’t avoid to documenting what is existing out there in this world.

Photographed to be photographed.
Doomed if you do, damned if you don’t. 


	



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</description>
		
	</item>
		
		
	<item>
		<title>Madrugando (Colombia), ongoing</title>
				
		<link>https://christine-cortes.com/Madrugando-Colombia-ongoing</link>

		<pubDate>Sat, 04 May 2019 03:44:36 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Madrugando-Colombia-ongoing</guid>

		<description>
	Madrugando&#38;nbsp; (2018 - Present)
selected images from&#38;nbsp;Colombia
35mm film
	The term ‘Madrugando’ is a phrase I grew up with, coming from a Colombian background. I realized through the parallels of my identity and family structures, as well as that of many communities that 'Madrugando' is a way of life. In english, 'Madrugando' translates to “Waking up early, working long, working hard.” While understanding the history of the country documented, I have used my practice as a photo based artist to visually interpret 'Madrugando' from my observations in different countries, drawing parallels about humans and the way of life that span and break apart the concepts of borders, languages, and barriers that institutions have placed to make us feel separate, ‘alien’, and ‘other’.  If the viewer feels that they recognize the image empathetically, it is because it is just as much their home and their people as it is for anyone else.





	
	
	
	
	

2020-2024

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2019


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2018


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</description>
		
	</item>
		
		
	<item>
		<title>Goombay Festival, 2024</title>
				
		<link>https://christine-cortes.com/Goombay-Festival-2024</link>

		<pubDate>Sat, 13 Jul 2024 03:15:32 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Goombay-Festival-2024</guid>

		<description>
	
Goombay Festival, 2024
This series of images was taken during the Goombay Bahamian Festival on Grand Avenue, Coconut Grove, Miami FL.
Selected images from this collection are archived with The Library of Congress.&#38;nbsp;The project is the result of a 2024 Community Collections Grant from the American Folklife Center of the U.S. Library of Congress, awarded to the Wolfsonian Public Humanities Lab at Florida International University.
Presented in partnership with
Sanctuary of the Arts, the Humanities Edge, FIU African &#38;amp; African Diaspora Studies Program, Mosaic Miami, and Macedonia Missionary Baptist Church of Miami.
https://www.loc.gov/collections/


	


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&#60;img width="4500" height="6846" width_o="4500" height_o="6846" data-src="https://freight.cargo.site/t/original/i/ebe049bb55a52fc989b31a239042bffb4898715213bd68a97cc049eb4b9da455/GoombayFest_photographedbyCortesChristineAlice2.jpg" data-mid="221364175" border="0"  src="https://freight.cargo.site/w/1000/i/ebe049bb55a52fc989b31a239042bffb4898715213bd68a97cc049eb4b9da455/GoombayFest_photographedbyCortesChristineAlice2.jpg" /&#62;
&#60;img width="4500" height="6783" width_o="4500" height_o="6783" data-src="https://freight.cargo.site/t/original/i/41d36d492c9a0300c7c1c5015ef1aa7ca6b229e1efb06269d6924d3f51b5951c/GoombayFest_photographedbyCortesChristineAlice3.jpg" data-mid="221364176" border="0"  src="https://freight.cargo.site/w/1000/i/41d36d492c9a0300c7c1c5015ef1aa7ca6b229e1efb06269d6924d3f51b5951c/GoombayFest_photographedbyCortesChristineAlice3.jpg" /&#62;
&#60;img width="4500" height="5835" width_o="4500" height_o="5835" data-src="https://freight.cargo.site/t/original/i/26f67f04773c050a828add780b56a7cf66f4f1e7bc78fdb421b94331bd4d52a7/GoombayFest_photographedbyCortesChristineAlice16.jpg" data-mid="221364188" border="0"  src="https://freight.cargo.site/w/1000/i/26f67f04773c050a828add780b56a7cf66f4f1e7bc78fdb421b94331bd4d52a7/GoombayFest_photographedbyCortesChristineAlice16.jpg" /&#62;
&#60;img width="4500" height="6494" width_o="4500" height_o="6494" data-src="https://freight.cargo.site/t/original/i/d3ec006f2072f21e91a54a0b690406d433f4c8e40bc1090a7ea88c01aca43933/GoombayFest_photographedbyCortesChristineAlice14.jpg" data-mid="221364187" border="0"  src="https://freight.cargo.site/w/1000/i/d3ec006f2072f21e91a54a0b690406d433f4c8e40bc1090a7ea88c01aca43933/GoombayFest_photographedbyCortesChristineAlice14.jpg" /&#62;
&#60;img width="4500" height="6642" width_o="4500" height_o="6642" data-src="https://freight.cargo.site/t/original/i/e5b8ee4e10fe8b2f2e96caadcdc38533a80d444bc057118641616e74d9296268/GoombayFest_photographedbyCortesChristineAlice17.jpg" data-mid="221364190" border="0"  src="https://freight.cargo.site/w/1000/i/e5b8ee4e10fe8b2f2e96caadcdc38533a80d444bc057118641616e74d9296268/GoombayFest_photographedbyCortesChristineAlice17.jpg" /&#62;







	
	
	
	
	
</description>
		
	</item>
		
		
	<item>
		<title>Por Este Lado Tambien Hay Sueños, 2021</title>
				
		<link>https://christine-cortes.com/Por-Este-Lado-Tambien-Hay-Suenos-2021</link>

		<pubDate>Tue, 26 Apr 2022 15:39:17 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Por-Este-Lado-Tambien-Hay-Suenos-2021</guid>

		<description>
	










Por Este Lado Tambien Hay Sueños (2021)“On this side we are also dreamers”, (2021)&#38;nbsp;


Series of 5, each 12 x 60” , 1/1

35mm film, scanned,
compositions image transferred on PlexiGlass, installed with aluminum wiring.
&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/494375c5e84c2307a3b318d3042f9693584e31347358b50b4fe515683dab1741/IMG-1351.jpg" data-mid="140835761" border="0"  src="https://freight.cargo.site/w/1000/i/494375c5e84c2307a3b318d3042f9693584e31347358b50b4fe515683dab1741/IMG-1351.jpg" /&#62;
*Completed during the 2021 Summer Open Residency 
at The Bakehouse Art Complex
*Each piece can be viewed through their individual slideshow (See below)...
	

&#38;nbsp; &#38;nbsp; &#38;nbsp; This body of work continues to focus on the philosophy of deconstructivism within my photographs. Using 100% of the negatives, I explore the relationship between each image, especially the “less successful” images, the ones that don’t exist on their own, but still carry fragmented information/fractions of time. I’ve learned to trust my intuition behind the camera, and use the time with these images to further explore my relationship between the land I’m connected to, my identity, the uncertainties of time...
 &#38;nbsp; &#38;nbsp; From there I make these compositions, tethering the fragmented information through this visual language and activating them on a transparent material that allows for visual moments of rest and/or many more opportunities than traditional photography allows.



&#38;nbsp; &#38;nbsp; The process of taking images in 35mm film in Colombia, digitized, and then is fragmented to meticulously create new compositions. As the parts of every fragmented area of form, color, and movement emulating logocentrism in “documentary photography” begin to be processed, we also see the deconstruction revealing the certainty on this cold substrate being the container for the archive of reality that deconstructs the visual rhetoric of systematic institutions.&#38;nbsp;


&#38;nbsp; &#38;nbsp; By physically transferring and investigating experimental processes of photography on different substrates, such as transparencies, I am given the opportunity to parallel a visual language tethered from the fragments and layers of my images that exist on both sides of the material.

&#38;nbsp; &#38;nbsp; Because the works are not traditional, the theory of the pieces allows for an opportunity for the work to exist in a free floating space, where someone can experience the pieces with the opportunity of a flat white wall behind it for a clear vision of the first layer of the works, but also allowing a space where the works can exist to be seen from the other side, a new layer of physical movement of people throughout the show to activate the pieces.




	
&#60;img width="856" height="431" width_o="856" height_o="431" data-src="https://freight.cargo.site/t/original/i/9420033aa55769383b29c88258d9df27e0c55f2481e801d9d1af6aaf0405290a/1-1-untitledrecent-no1-of-7_corteschristine.png" data-mid="140825300" border="0" alt="No. 1/5 Full View" data-caption="No. 1/5 Full View" src="https://freight.cargo.site/w/856/i/9420033aa55769383b29c88258d9df27e0c55f2481e801d9d1af6aaf0405290a/1-1-untitledrecent-no1-of-7_corteschristine.png" /&#62;


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; No. 1/5 Full View


&#60;img width="1214" height="737" width_o="1214" height_o="737" data-src="https://freight.cargo.site/t/original/i/ca8d04fb7245d5c30779fdd6f46102fcc95c1b0488227983b471e504629bf104/1-1.png" data-mid="140825301" border="0" alt="Detail shot with finger for transparent reference" data-caption="Detail shot with finger for transparent reference" src="https://freight.cargo.site/w/1000/i/ca8d04fb7245d5c30779fdd6f46102fcc95c1b0488227983b471e504629bf104/1-1.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/74ef2d2c6e681c6b302893a92faae9d3b081e55815f18372d7eb004d94e43ee0/1-2.png" data-mid="140825302" border="0" alt="Detail shot (top left corner with hand behind PlexiGlass)" data-caption="Detail shot (top left corner with hand behind PlexiGlass)" src="https://freight.cargo.site/w/1000/i/74ef2d2c6e681c6b302893a92faae9d3b081e55815f18372d7eb004d94e43ee0/1-2.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/ff7710175c43342668a8ed9774ad6c06b8855d5e6efcaed1a3d0383183e099ce/1-5.png" data-mid="140825305" border="0" alt="Detail shot (middle quadrant)" data-caption="Detail shot (middle quadrant)" src="https://freight.cargo.site/w/1000/i/ff7710175c43342668a8ed9774ad6c06b8855d5e6efcaed1a3d0383183e099ce/1-5.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/d9c899be88bf3768055df2c24b3aeb254f48b78601070f36256fb296a308a81f/1-6.png" data-mid="140825306" border="0" alt="Detail Shot (centered with hand behind PlexiGlass)" data-caption="Detail Shot (centered with hand behind PlexiGlass)" src="https://freight.cargo.site/w/1000/i/d9c899be88bf3768055df2c24b3aeb254f48b78601070f36256fb296a308a81f/1-6.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/d0485072122858a529d052e59fb7ed121d880dafa04e378083b28ff626e689f0/1-4.png" data-mid="140825304" border="0" alt="Detail Shot (Bottom Left Quadrant)" data-caption="Detail Shot (Bottom Left Quadrant)" src="https://freight.cargo.site/w/1000/i/d0485072122858a529d052e59fb7ed121d880dafa04e378083b28ff626e689f0/1-4.png" /&#62;




	
&#60;img width="1143" height="571" width_o="1143" height_o="571" data-src="https://freight.cargo.site/t/original/i/da4786d4c610fc56fd67bebbb2e886f8ca5ca93fa6662c5e4804d6d658e590ec/2--Untitledrecentno6of7_Corteschristine.png" data-mid="140825609" border="0" alt="No. 2/5 Full View" data-caption="No. 2/5 Full View" src="https://freight.cargo.site/w/1000/i/da4786d4c610fc56fd67bebbb2e886f8ca5ca93fa6662c5e4804d6d658e590ec/2--Untitledrecentno6of7_Corteschristine.png" /&#62;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; No. 2/5 Full view



&#60;img width="1214" height="729" width_o="1214" height_o="729" data-src="https://freight.cargo.site/t/original/i/4b428aa54b757f41be50e1e9192ca901e13c043f3e4b79eca0a5db5a25fd0c12/2-6.png" data-mid="140825668" border="0" alt="Detail shot (top left)" data-caption="Detail shot (top left)" src="https://freight.cargo.site/w/1000/i/4b428aa54b757f41be50e1e9192ca901e13c043f3e4b79eca0a5db5a25fd0c12/2-6.png" /&#62;
&#60;img width="1180" height="810" width_o="1180" height_o="810" data-src="https://freight.cargo.site/t/original/i/468d734516a20bdc46bccb19645dbebab9df3b6acdf1d5919f0245be766fa92f/2-1.png" data-mid="140825628" border="0" alt="Detail shot (center left)" data-caption="Detail shot (center left)" src="https://freight.cargo.site/w/1000/i/468d734516a20bdc46bccb19645dbebab9df3b6acdf1d5919f0245be766fa92f/2-1.png" /&#62;
&#60;img width="1203" height="810" width_o="1203" height_o="810" data-src="https://freight.cargo.site/t/original/i/1f6d0b7ee4e004391c2b7a89718f5ec49d5ab2ae96c6f111f1581ae59a78ac85/2-4.png" data-mid="140825647" border="0" alt="Detail shot (bottom right)" data-caption="Detail shot (bottom right)" src="https://freight.cargo.site/w/1000/i/1f6d0b7ee4e004391c2b7a89718f5ec49d5ab2ae96c6f111f1581ae59a78ac85/2-4.png" /&#62;
&#60;img width="952" height="761" width_o="952" height_o="761" data-src="https://freight.cargo.site/t/original/i/31e64108f78d963196d37e7376d121c6cb285f67ae5777151a71417f14c47f1b/2-2.png" data-mid="140825639" border="0" alt="Detail shot (Top Center)" data-caption="Detail shot (Top Center)" src="https://freight.cargo.site/w/952/i/31e64108f78d963196d37e7376d121c6cb285f67ae5777151a71417f14c47f1b/2-2.png" /&#62;
&#60;img width="1174" height="775" width_o="1174" height_o="775" data-src="https://freight.cargo.site/t/original/i/7398c3eeea0d640adead4adae4d0ba1138d7a8947f37e8bc3cba3a44a60742d8/2-5.png" data-mid="140825657" border="0" alt="Detail shot (Top Right)" data-caption="Detail shot (Top Right)" src="https://freight.cargo.site/w/1000/i/7398c3eeea0d640adead4adae4d0ba1138d7a8947f37e8bc3cba3a44a60742d8/2-5.png" /&#62;




&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/0aa4b3a48067f74a8ea87b344f94bb67667ddb091170806c36b10f0f62f255af/3-1.png" data-mid="140826456" border="0"  src="https://freight.cargo.site/w/1000/i/0aa4b3a48067f74a8ea87b344f94bb67667ddb091170806c36b10f0f62f255af/3-1.png" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; No. 3/5 (Full view)


&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/5dee4265abf02c2cb62c00f42a77872f6ac2ed0f34573607c8e6eaec14e25a39/3-4.png" data-mid="140826459" border="0" alt="Detail shot (Bottom Left)" data-caption="Detail shot (Bottom Left)" src="https://freight.cargo.site/w/1000/i/5dee4265abf02c2cb62c00f42a77872f6ac2ed0f34573607c8e6eaec14e25a39/3-4.png" /&#62;
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/95d5dc7efcd3ea63b4759007d503a7ad763da57e635753202d373c31f919c133/3-3.png" data-mid="140826458" border="0" alt="Detail shot (Bottom Right)" data-caption="Detail shot (Bottom Right)" src="https://freight.cargo.site/w/1000/i/95d5dc7efcd3ea63b4759007d503a7ad763da57e635753202d373c31f919c133/3-3.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/0b97768518c21b7557bd61db2e4897cd8076264f04f41c1faf901e301a64ea3c/3-2.png" data-mid="140826457" border="0" alt="Detail shot with hand behind Plexi Glass" data-caption="Detail shot with hand behind Plexi Glass" src="https://freight.cargo.site/w/1000/i/0b97768518c21b7557bd61db2e4897cd8076264f04f41c1faf901e301a64ea3c/3-2.png" /&#62;
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/0e65096ebff3443571361ef7f814ae1a864f54b0d8e12ed20b9ca3bfa36dc868/3-6.png" data-mid="140826461" border="0" alt="Detail shot (Center)" data-caption="Detail shot (Center)" src="https://freight.cargo.site/w/1000/i/0e65096ebff3443571361ef7f814ae1a864f54b0d8e12ed20b9ca3bfa36dc868/3-6.png" /&#62;
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/4241b1aa2b61d5e214b43b016e559d303e42fa4f369d584306a3c275f6322bbd/3-5.png" data-mid="140826460" border="0" alt="Detail shot (top right)" data-caption="Detail shot (top right)" src="https://freight.cargo.site/w/1000/i/4241b1aa2b61d5e214b43b016e559d303e42fa4f369d584306a3c275f6322bbd/3-5.png" /&#62;
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/f039b19d0bce2455b6c55103fa71f827be5ce90dfc0dbb2327bf034f26728139/3-7.png" data-mid="140826465" border="0" alt="Detail shot with hand behind Plexi Glass" data-caption="Detail shot with hand behind Plexi Glass" src="https://freight.cargo.site/w/1000/i/f039b19d0bce2455b6c55103fa71f827be5ce90dfc0dbb2327bf034f26728139/3-7.png" /&#62;



&#60;img width="947" height="728" width_o="947" height_o="728" data-src="https://freight.cargo.site/t/original/i/6b71fae5144c14731496c75600770fef88a66355e6f4c212a803d5660727a3b0/4-1-Uh.png" data-mid="140826772" border="0"  src="https://freight.cargo.site/w/947/i/6b71fae5144c14731496c75600770fef88a66355e6f4c212a803d5660727a3b0/4-1-Uh.png" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; No. 4/5 Full View




&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/19335b862f1a1b618f960c9220d90864cdba92d5aaf79fd2807f407675d585c6/4-1.png" data-mid="140826776" border="0" alt="Detail shot (top left quadrant)" data-caption="Detail shot (top left quadrant)" src="https://freight.cargo.site/w/1000/i/19335b862f1a1b618f960c9220d90864cdba92d5aaf79fd2807f407675d585c6/4-1.png" /&#62;
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/16be96eff65eecb828099d41f2a60d91471fac8a29a5513da05e48fd357b55dc/4-4.png" data-mid="140826783" border="0" alt="Detail shot (center bottom)" data-caption="Detail shot (center bottom)" src="https://freight.cargo.site/w/1000/i/16be96eff65eecb828099d41f2a60d91471fac8a29a5513da05e48fd357b55dc/4-4.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/289e31efe9d6f71710e59a5b28b58da7cdd9917bdbe33f1d810a9fd08e4b9708/4-3.png" data-mid="140827326" border="0" alt="Detail shot with hand behind PlexiGlass" data-caption="Detail shot with hand behind PlexiGlass" src="https://freight.cargo.site/w/1000/i/289e31efe9d6f71710e59a5b28b58da7cdd9917bdbe33f1d810a9fd08e4b9708/4-3.png" /&#62;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/b14eda504be8151de8498876fe4ee288407437bf77490e6ac0856ae88dfc73fc/4-6.png" data-mid="140826789" border="0" alt="Detail shot (top right center)" data-caption="Detail shot (top right center)" src="https://freight.cargo.site/w/1000/i/b14eda504be8151de8498876fe4ee288407437bf77490e6ac0856ae88dfc73fc/4-6.png" /&#62;
&#60;img width="1000" height="750" width_o="1000" height_o="750" data-src="https://freight.cargo.site/t/original/i/1d9d508f21600bfa5ffce189d596d5cf32d086dd5f64b346eeaab1e1d234d5bd/4-5.png" data-mid="140826787" border="0" alt="Detail Shot (bottom right)" data-caption="Detail Shot (bottom right)" src="https://freight.cargo.site/w/1000/i/1d9d508f21600bfa5ffce189d596d5cf32d086dd5f64b346eeaab1e1d234d5bd/4-5.png" /&#62;


&#60;img width="880" height="728" width_o="880" height_o="728" data-src="https://freight.cargo.site/t/original/i/3e31bd2361ca1969182491d668677ba5879645d9df80b9860360ca3c23ef8e26/5-1.png" data-mid="140827937" border="0"  src="https://freight.cargo.site/w/880/i/3e31bd2361ca1969182491d668677ba5879645d9df80b9860360ca3c23ef8e26/5-1.png" /&#62;

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; No. 5/5 Full View&#38;nbsp;
&#60;img width="1214" height="810" width_o="1214" height_o="810" data-src="https://freight.cargo.site/t/original/i/fd81dede1ce5b6b15206d721549dd756d5cca7842c7ace95f83337fd62476ba0/5-2.png" data-mid="140828110" border="0" alt="Detail shot (top right quadrant)" data-caption="Detail shot (top right quadrant)" src="https://freight.cargo.site/w/1000/i/fd81dede1ce5b6b15206d721549dd756d5cca7842c7ace95f83337fd62476ba0/5-2.png" /&#62;
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&#38;nbsp;</description>
		
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	<item>
		<title>Niñez, 2020</title>
				
		<link>https://christine-cortes.com/Ninez-2020</link>

		<pubDate>Wed, 24 Jul 2024 18:24:33 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Ninez-2020</guid>

		<description>
	Niñez, 2020&#38;nbsp;During pandemic December of 2020, I was able to go to Colombia for the fear that it would be the last time I saw my Grandmother.&#38;nbsp;
In that time, my uncle and I went to his finca in Restrepo, Valle Del Cauca. A beautiful land that once belonged to the Indigenous Calima tribes. Many houses that have been recently built have been offered to be exavated by the nieghbors who have lived on the lands for generations. Before the foundation of the house is struck into the ground, these men would do a process to search for indigenous remains. My uncle did this before the construction of his home, and he found artifacts, such as ceramic pots and vases for Ceremonial purposes, funerary vessels, or other tools for daily purpose like Stone and shells. One ceramic vessel even had teeth, perfectly preserved inside.
This land means so much to me. The air is crisp and pure, the weather is perfect, the people are home. I can sleep in a hammock outside and wake up feeling better than I ever felt. I feel a spiritual connection with the land that my ancestors once hailed from.&#38;nbsp;
Prior to arriving, my uncle and I bought christmas gifts for the nearby children who were currently living in the area. It is a sort of family tradition for my family to gift clothes, shoes, and toys for the families in poorer areas of our cities during the Christmas time as a way to uplift our communties.
The children were between the ages of 4-11 years old, and their families were occupying the nearby schoolhouse that was closed down during the pandemic time. The community of farmpeople who also fascilitated the school opened the classrooms as homes to the family in exchange for help on the farms during this time since the families emmigrated from Venezuela, traveling many days and kilometers of miles to one of the southern most sections of Colombia on foot and bus.&#38;nbsp;
Upon learning this and also spending time with these children, we bonded.
Running through the mountains and climbing trees, I felt like a child again. The inner child in me wished to live the way they did in this area, getting the red dirt under their nails, swimming in the river and eating the fresh food that this area offered.
The exposed adult in me felt pained by their situation, furious at the displacement between families during the pandemic that leaves people at risk of housing and health issues, at multiplied by the displacement of political violence and corruption. Even through a universal health crisis, we as powerful nations can’t do more for people slipping through the cracks of a broken system. More and more everyday, the refugee crisis expands in so many places and ways.&#38;nbsp;

Venezuela and Colombia has always been a sister land, with similar land backgrounds, foods and cultures, and even at one point a great commerce relationship. My family speaks to me of the bridge that Colombians and Venezuelans used to cross daily for work and day to day life. Nowadays, it is a refugee crossing with various military checkpoints checking identification and stealing what little money these families have left. During this time of health and financial crisis, a lot of Colombians were extremely hostile to Venezuelan migrees, within the same eyes as a person of color in The United States would see them, “taking my job”, “no space for you”, “making this country worse by being here” retoric that held no weight.&#38;nbsp;
During these nights, we celebrated ‘Novena’, a cultural Colombian tradition during the holidays to spend 9 days of Catholic prayer, song, and community that takes place prior to Christmas Eve. The children were all trained to play instruments. Each one took up the Accordion, a Trumpet, some Bongos, and a guitar. We sang the same songs, ate the same food. It felt like I had played with these children all my lfie.&#38;nbsp;

I also think back to the concept of immigration that is seperate in other countries versus The United States. Every other country either has passing points or limited visa acceptances, refugee centers that can often be a limbo space for ethnic groups facing mass genocide and apartheid- But the United States has private, for profit detention centers that seperate children from their families. With US Government sanctions in place and corrupt governmental history prefering dominance and power over the people, so many hundreds of thousands of Venezuelan fled their homes to find safety and work stability all over the world.&#38;nbsp;
My brain spins while walking through the forests with the kids, and maybe it is the elevation, but I am grateful that they are spending a peaceful childhood after such a trek of danger and uncertainty.&#38;nbsp;


I do know, we need to do better.&#38;nbsp;
	
x
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	<item>
		<title>FACE FOR THE ALGO</title>
				
		<link>https://christine-cortes.com/FACE-FOR-THE-ALGO</link>

		<pubDate>Sat, 04 May 2019 03:50:10 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/FACE-FOR-THE-ALGO</guid>

		<description>
	FACE FOR THE ALGO, 2025 &#38;nbsp;Available now at Dale Zine and Easy Peasy TattooThis photo series is collaborative community project for “Face For The Algo”,
a 2025 calendar spread with different artists creating individual portraits.
The calendar proceeds go to @miamiworkerscenter and&#38;nbsp; @wecount!&#38;nbsp;

In collaboration with artists Agua Dulce as subject and Luz Estrella&#38;nbsp;as project manager, Studio provided by @takecarebodywork, and featured friends include&#38;nbsp;This year’s collaboration for the calendar focuses on themes of “Gentle Work”.
For our community, Self Care can be an act of allowing loved once to pour back into your cup.
In our most painful moments, Queerness is resillient through the collective conscious. The Queer Community can never truly be erased when we keep the memory of those who came for before as we fight for those who are still trying to carve out their future. To be embraced is to feel genuine love passing through our when you are held by your chosen family, when you are held by those that you and feeling warmth even if you are reminiscing the best memories of your life with loved ones.&#38;nbsp;
Additional thanks to: Take Care Holistic Massage &#38;amp; Bodywork, Josh Aronson, Akia Dorsainvil, Franklin Cruz, Adaeze, Aliyah, Alo, Elena, Julie Frances, Chromat, Lakshmi and Kenza’s Home, Dr. Epe, Alexandra Fields O’Neale, Barbara Caridad Meulener, Claudia Maria Navarro, Omolara Williams McCallister, Starr Abraham, Vanny V, Juancy, Amal Rogers, nat ebanks sassine, Nasim, Haiwen, and Finca Morada

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-


	FACE FOR THE ALGO, 2024
This photo series is collaborative community project for “Face For The Algo”,a 2024 calendar spread with different artists creating individual portraits.
The calendar proceeds went to @lovetheeverglades, @miamiworkerscenter, @wecount!, @transsocial, &#38;amp; @palestinianyouthmovement 
In collaboration with artists Agua Dulce as subject and Sabrina Diaz as project manager, 
I considered how a figure as iconic as La Pata Sola could be reclaimed in this project. What if we take an urban legend of a demonized femme, and instead shift her narrative to empower resistance. Many regions of Colombia where this folk In our white supremacist hetero-patriarchal cis-male led society, that which opposes these identities is brought into question, negated, and made to look evil. Patasola is a figure in Colombian lore; she’s portrayed as a beautiful woman who lures men into the forest and then reveals her true demon self to kill them. Many regions have different origins of how this woman became a monster. She’s used by many as a folklore to scare women into fidelity and piety - however, if you read deeper into her story, topics of sex trafficking, male infidelity, misogyny, and control are all evident. If this is what she opposes, why would we not glorify the demon. Why wouldn’t we want to celebrate the grotesque. To decolonize is to uplift that which the white man has deemed unlovable, &#38;amp; in turn, loving that within ourselves.Read more about the legend of La Pata Sola here!https://www.todacolombia.com/folclor-colombia/mitos-y-leyendas/patasola.htmlOr wiki for the various versions from the different regions of Colombiahttps://en.m.wikipedia.org/wiki/PatasolaAdditional thanks to: Starr Abraham, Luz Estrella Cruz, Nina Mayers, Bean Blackett, Pinky, Gross Clinic Kitchen, Nasim, Andrea Garcia, Daniela Tabbara, Trevor Owens, Dr. Epe Parrado-Ortiz, jose santiago castro, and Mar Sublaban.

&#60;img width="2347" height="3594" width_o="2347" height_o="3594" data-src="https://freight.cargo.site/t/original/i/fd1d00a01c061d41e7b68472448573956879263a195fdb973a778ad690bbf050/LaPataSola_34_July.jpg" data-mid="212439192" border="0"  src="https://freight.cargo.site/w/1000/i/fd1d00a01c061d41e7b68472448573956879263a195fdb973a778ad690bbf050/LaPataSola_34_July.jpg" /&#62;
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X


	
	
	
	
	
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	<item>
		<title>CHIGÜIRO (Capybara commissions: open)</title>
				
		<link>https://christine-cortes.com/CHIGUIRO-Capybara-commissions-open</link>

		<pubDate>Sun, 07 Aug 2022 07:09:42 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/CHIGUIRO-Capybara-commissions-open</guid>

		<description>
	CHIGÜIRO, 2021- PRESENT
Terracotta and glaze, dimensions variable.

This is an ancestral love project, as it is a communal project.

Chigüiros (Capybaras) are native to Colombia, and they are absolutely my favorite animal.
 Learn more here
Never having seen one before in this life, I have always admired them. During 2021, I was squishing clay one night and encountered some lost memories, and ended up creating a Capybara that became the reference for all the future Capybara models.
Then, In January of 2022, my lovely friends surprised me in an animal sanctuary in Central FL where I met two Chigüiros. From there, I was filled with so many ideas for making custom Capybaras (the “two headed Capy”, the “freak on the leash”, “Flappybara”, “Capy with a butterfly on its nose”, etc.)
I had no immediate plans as to where I wanted to go with this project, and it became a healing process squishing a lil’ population con muchísimo amor!!

	










*COMMISSIONS: OPEN*
To place your order for your Chiguiro/Capybara,
please use the form below:Capybara/Chiguiro order formProceeds of each Capybara will be donated to either:-orgs/communities/Mutual Aid funds of your choice
or-directly to my artist practice.
PAST COLLABORATIVE FUNDRAISERS:
“A LITTLE POP UP- 1” EVENT (on Instagram)

A little Pop was an art collective fundraiser sale that took place at The Bakehouse Art Complex, Miami, FL on the 2022 Artist Open day (May 21).
Proceeds went to The Indigineous Women’s Abortion Fund.
Participating artists were:
Vũ H. Khánh-Nguyên // @inhalingnowGabriela Fernandez //&#38;nbsp;@skrabzhukAstrielle Williams //&#38;nbsp;@astrilllartAvi Young //&#38;nbsp;@avi.a.loverAgua Dulce //&#38;nbsp;@_agua.dulce_

	
	
	
	
	


&#60;img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b1536fb6cee7b628dd3c47760b21094b47a50e8bab812b4d4ea206ff6c0e7f75/New-Project-1-1.jpg" data-mid="151372257" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/b1536fb6cee7b628dd3c47760b21094b47a50e8bab812b4d4ea206ff6c0e7f75/New-Project-1-1.jpg" /&#62;&#60;img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/3cd2d62fcc7a765fa9b03409a0c347d98e5f0c079da6524541a3d1e0c4137711/New-Project-2.jpg" data-mid="151372256" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/3cd2d62fcc7a765fa9b03409a0c347d98e5f0c079da6524541a3d1e0c4137711/New-Project-2.jpg" /&#62;&#60;img width="1170" height="1168" width_o="1170" height_o="1168" data-src="https://freight.cargo.site/t/original/i/73b239d993c7fba536ab2d9d14b32fb7ca24ab0ed91713896e32d6ff87c8bb3b/IMG-9234.jpg" data-mid="151374106" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/73b239d993c7fba536ab2d9d14b32fb7ca24ab0ed91713896e32d6ff87c8bb3b/IMG-9234.jpg" /&#62;Happy customers with their new Capybaras (from “A Little Pop Up 1”)
&#60;img width="1170" height="1463" width_o="1170" height_o="1463" data-src="https://freight.cargo.site/t/original/i/d8aa941bf79651c2e2c7aad3a6e8a6ff9ae9d41b3d970506055eecc49af6764a/IMG-9229.jpg" data-mid="151374243" border="0"  src="https://freight.cargo.site/w/1000/i/d8aa941bf79651c2e2c7aad3a6e8a6ff9ae9d41b3d970506055eecc49af6764a/IMG-9229.jpg" /&#62;
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&#60;img width="949" height="1098" width_o="949" height_o="1098" data-src="https://freight.cargo.site/t/original/i/dbc622154461b8a41e27ed55a08f3b3851d28b576c20b288b0297f9f1acfbfd8/IMG-9232.jpg" data-mid="151374250" border="0"  src="https://freight.cargo.site/w/949/i/dbc622154461b8a41e27ed55a08f3b3851d28b576c20b288b0297f9f1acfbfd8/IMG-9232.jpg" /&#62;
&#60;img width="1170" height="1437" width_o="1170" height_o="1437" data-src="https://freight.cargo.site/t/original/i/6f3221819a41a42ed59624fb94fb05d15ddf79defc8fd21c0075f7afa7c51ee6/IMG-9231.jpg" data-mid="151374247" border="0"  src="https://freight.cargo.site/w/1000/i/6f3221819a41a42ed59624fb94fb05d15ddf79defc8fd21c0075f7afa7c51ee6/IMG-9231.jpg" /&#62;
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	<item>
		<title>Meditations In The Mundane, 2020</title>
				
		<link>https://christine-cortes.com/Meditations-In-The-Mundane-2020</link>

		<pubDate>Wed, 29 Apr 2020 07:38:50 +0000</pubDate>

		<dc:creator>Christine Cortes</dc:creator>

		<guid isPermaLink="true">https://christine-cortes.com/Meditations-In-The-Mundane-2020</guid>

		<description>
	Meditations In The Mundane,&#38;nbsp;2020
10×8 in, 25×20 cm
Hardcover, ImageWrap
# of Pages: 40
ISBN #
9781714789726

$60


In stock (Limited run)
	“Meditations In The Mundane“
consists of hundreds of square images, stored in a small, hidden album for about 2-3 years of my life from 2017-2019, specially selected and curated in this book, for you.”

VENMO: @Christine_Cortes

for all inquires please email:

Christinecortesphotography@gmail.com


	
	
	
	
	


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