Artistic Statement
I am an artist from the U.S.-Mexico divide who writes about borderlands. My plays and screenplays investigate the gray areas that defy definition, the contradictions within the individual and group, and the hybrid places where the notion of “natural” is investigated, challenged, and revealed. I use boundaries as a vantage point to observe different points of view and as a means to interrogate current affairs.
My most recent full-length play, The Curse of Giles Corey, examines police abuse of power and the gray space between racism and the human predilection to violence. The play considers whether this violence is cultivated from within policing culture or stems from individuals and grapples with abuse as a “natural” consequence of human fallibility.
Man of the People is a play that explores the U.S. love affair with charlatans and seeks an understanding of their existence in the space between symptom and cause of public folly. The play reflects America’s current political and social climate as inspired by our past, interrogating society’s role in aiding and abetting its own deception as well as the individual’s hand in embracing delusion for self-preservation. It asks if hucksters, like parasites, are a “natural” part of public order and contemplates their relevance in filling real public voids with ultimately hollow lies.
Border Grammar is a comedic television pilot that showcases Latinx teachers as heroines on a geographic border, correcting language in a place where English and Spanish blend together. The show brings the U.S./Mexico border to the screen, humanizing people of the frontera and expanding their relevance beyond walls and tropes. The series highlights the fluidity of border identities and exposes the artificiality of imposed governmental divisions. Along this divide, contradictions co-exist within the individual that speaks Spanglish and inside the group that celebrates allegiance both to Mexico and the United States. In a place where nationality and fate is determined by a 5-minute-walk across a bridge, the very notion of what it means to be a “natural-born” citizen is challenged.
In short, my writing makes its home along the line and invites others to spend some time there. The moments we spend in borderlands get us closer to understanding the truth about ourselves and helps us avoid the temptation to oversimplify and other.
My most recent full-length play, The Curse of Giles Corey, examines police abuse of power and the gray space between racism and the human predilection to violence. The play considers whether this violence is cultivated from within policing culture or stems from individuals and grapples with abuse as a “natural” consequence of human fallibility.
Man of the People is a play that explores the U.S. love affair with charlatans and seeks an understanding of their existence in the space between symptom and cause of public folly. The play reflects America’s current political and social climate as inspired by our past, interrogating society’s role in aiding and abetting its own deception as well as the individual’s hand in embracing delusion for self-preservation. It asks if hucksters, like parasites, are a “natural” part of public order and contemplates their relevance in filling real public voids with ultimately hollow lies.
Border Grammar is a comedic television pilot that showcases Latinx teachers as heroines on a geographic border, correcting language in a place where English and Spanish blend together. The show brings the U.S./Mexico border to the screen, humanizing people of the frontera and expanding their relevance beyond walls and tropes. The series highlights the fluidity of border identities and exposes the artificiality of imposed governmental divisions. Along this divide, contradictions co-exist within the individual that speaks Spanglish and inside the group that celebrates allegiance both to Mexico and the United States. In a place where nationality and fate is determined by a 5-minute-walk across a bridge, the very notion of what it means to be a “natural-born” citizen is challenged.
In short, my writing makes its home along the line and invites others to spend some time there. The moments we spend in borderlands get us closer to understanding the truth about ourselves and helps us avoid the temptation to oversimplify and other.
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Dolores Díaz
Artistic Statement
I am an artist from the U.S.-Mexico divide who writes about borderlands. My plays and screenplays investigate the gray areas that defy definition, the contradictions within the individual and group, and the hybrid places where the notion of “natural” is investigated, challenged, and revealed. I use boundaries as a vantage point to observe different points of view and as a means to interrogate current affairs.
My most recent full-length play, The Curse of Giles Corey, examines police abuse of power and the gray space between racism and the human predilection to violence. The play considers whether this violence is cultivated from within policing culture or stems from individuals and grapples with abuse as a “natural” consequence of human fallibility.
Man of the People is a play that explores the U.S. love affair with charlatans and seeks an understanding of their existence in the space between symptom and cause of public folly. The play reflects America’s current political and social climate as inspired by our past, interrogating society’s role in aiding and abetting its own deception as well as the individual’s hand in embracing delusion for self-preservation. It asks if hucksters, like parasites, are a “natural” part of public order and contemplates their relevance in filling real public voids with ultimately hollow lies.
Border Grammar is a comedic television pilot that showcases Latinx teachers as heroines on a geographic border, correcting language in a place where English and Spanish blend together. The show brings the U.S./Mexico border to the screen, humanizing people of the frontera and expanding their relevance beyond walls and tropes. The series highlights the fluidity of border identities and exposes the artificiality of imposed governmental divisions. Along this divide, contradictions co-exist within the individual that speaks Spanglish and inside the group that celebrates allegiance both to Mexico and the United States. In a place where nationality and fate is determined by a 5-minute-walk across a bridge, the very notion of what it means to be a “natural-born” citizen is challenged.
In short, my writing makes its home along the line and invites others to spend some time there. The moments we spend in borderlands get us closer to understanding the truth about ourselves and helps us avoid the temptation to oversimplify and other.
My most recent full-length play, The Curse of Giles Corey, examines police abuse of power and the gray space between racism and the human predilection to violence. The play considers whether this violence is cultivated from within policing culture or stems from individuals and grapples with abuse as a “natural” consequence of human fallibility.
Man of the People is a play that explores the U.S. love affair with charlatans and seeks an understanding of their existence in the space between symptom and cause of public folly. The play reflects America’s current political and social climate as inspired by our past, interrogating society’s role in aiding and abetting its own deception as well as the individual’s hand in embracing delusion for self-preservation. It asks if hucksters, like parasites, are a “natural” part of public order and contemplates their relevance in filling real public voids with ultimately hollow lies.
Border Grammar is a comedic television pilot that showcases Latinx teachers as heroines on a geographic border, correcting language in a place where English and Spanish blend together. The show brings the U.S./Mexico border to the screen, humanizing people of the frontera and expanding their relevance beyond walls and tropes. The series highlights the fluidity of border identities and exposes the artificiality of imposed governmental divisions. Along this divide, contradictions co-exist within the individual that speaks Spanglish and inside the group that celebrates allegiance both to Mexico and the United States. In a place where nationality and fate is determined by a 5-minute-walk across a bridge, the very notion of what it means to be a “natural-born” citizen is challenged.
In short, my writing makes its home along the line and invites others to spend some time there. The moments we spend in borderlands get us closer to understanding the truth about ourselves and helps us avoid the temptation to oversimplify and other.