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ANIMA MUNDI: Adaptation
2026 • watercolor/paper • 14.5” x 14.5”
©️Vicki Teague-Cooper

A watercolor piece I actually started in 2016, put it away. Then while reorganizing my flat files I saw it and suddenly I knew I needed to finish it—I felt it just resonated differently in the current world.

#artbyanymeansnecessary #vickiteaguecooper #artmatters #artistsofinstagram #santafeartist artforthesoul artwitch biomorphic artforlife artfeedstheworld artmagic imaginedsystems

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Thank you to everyone who came out to the opening of ‘i thought i saw you yesterday’ at the National Hispanic Cultural Center! It was an incredible opening and I loved talking with & meeting so many new faces:)

The exhibition is up until May 30 2027, so in case you missed the opening, there is still plenty of time to go see it!

Admission is $6, $5 for NM residents / free for NM residents on the 1st Sunday of each month ✨

September 18 2026 - May 30 2027
Curated by @hazelbatrezchavez

I’m so happy to be showing this work alongside an incredible cohort of artists!

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#artmuseum #painting #art

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AUTUMN 🌻 glitter and acrylic on canvas, 40 x 30 inches, 2026

In Autumn, a family of hawks lived in the trees surrounding my home and became part of my daily life. As I watched them, I imagined the hawks as biblically accurate angels, predators with terrifying appearances, yet serve as protectors. Embedded in New Mexico, this biblically accurate hawk angel transforms the narrative into a spiritual symbol, guiding me through fear and loss, and grounding me in the present, the land, and the earth.

Currently on view at The National Hispanic Cultural Center’s newly renovated Community Gallery @nhccnm curated by @hazelbatrezchavez

September 18 2026 ~ May 30 2027

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Scroll to slide 3 to see a video of the glitter painting in action ✨

#newart #contemporarypainting #contemparyart #artmuseum #artist

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‘SUMMER’ 🔥 acrylic and glitter on canvas, 40 x 30 inches, 2026

〰〰〰

This series traces my four seasons of 2025—Spring, Summer, Autumn, and Winter. Rooted in my lived experience, the work uncovers my emotional landscapes as both intimate and ancestral, shaped by memory, migration, culture, and tradition.

Summer, the landscape centers on a porcelain gourd (húlu), a Chinese symbol deeply associated with fertility, generational continuity, and luck. The gourd is believed to contain a thousand seeds for a thousand healthy children. Within the vessel, a self portrait screams into the void of a hot, red, desolate landscape. The summer heat evokes uninhabitable spaces, dried riverbeds, and barren land, while New Mexico trout sense the uncertainty of their homes disappearing, echoing the fragile seeds I carry. This landscape bears the precarious, yet enduring weight of continuity.

On view @ National Hispanic Cultural Center
Albuquerque, New Mexico
September 18 2026 - May 30 2027
“i thought i saw you yesterday’
@nhccnm curated by @hazelbatrezchavez

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ANIMA MUNDI: Siren
2026 • oil on panel • 8”x8”
©️Vicki Teague-Cooper 2026

#artbyanymeansnecessary #vickiteaguecooper #artmatters #artistsofinstagram #santafeartist

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One of three artists featured in this show, Margaret Fitzgerald’s painting functions as self-portraits, reflecting on the artist’s inner life while responding to the social and political realities that shape it, seeking a visual language to form what she wants to express.

The artist describes her process as “seeking something familiar…with each painting I want to dig deeper, move beyond the limitations of words and evoke an emotional response. I want to catch a glimpse of the intangible human experience.”

Curated by Museum Curator, Augustine Romero.
On view through October 16, 2026 at the South Broadway Cultural Center.
Gallery hours are 10am - 6pm Tuesday through Saturday.

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Experience Judy's new series starting next week at Pie Projects in Santa Fe #painting #artist #gallery #goldleaf

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Sam Scott, ‘Sounds in the Grass’, Spring 2026, watercolor, 12” x 9”

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In early April, Olga Herrera published her essay, (Un) Tethered Materiality: The Fabric of a Fraught Landscape, as part of the Diasporic Untethered series through the United States Latinx Artist Forum. The series investigates artists whose work engages with connection and/or disconnection from a homeland, whether recognized or unrecognized by the nation-state, and explores how artists navigate dispersal, relationships to place, and connections to people. While Latinx studies often approaches diaspora through frameworks that challenge assimilationist paradigms, the series invites new questions and perspectives in the analysis of diaspora.

I wanted to share Olga’s words with you all, as her reflections on my artistic practice felt especially meaningful and significant to me.

https://uslaf.org/essay/un-tethered-materiality-the-fabric-of-a-fraught-landscape/

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I am delighted to be exhibiting at Pie Projects Contemporary Art, Santa Fe, with my new ground paintings and breath drawings. Curated by Alina Borsa, Director of Pie. Thank you Alina for your collaborative spirit, your vision, imagination, and the opportunity to exhibit artwork in your beautiful space. The preview and opening were wonderful events last weekend! Here are a few shots...

"Jill O'Bryan: A New Breath" is up until June 6th.

1. Jill O'Bryan, David Sheinbaum, and
Janet Russek in front of "Ground Pantings".

2. Toby Jurovics, Director of
The Barry Lopez Foundation for Art and Environment; Jill; Alina Borsa, Director, Pie Projects; Devendra Contractor, dnca architects, designed Pie Projects as well as the Vladem Contemporary Art Museum in Santa Fe (with Studio GP).

3. Devendra Contractor in front of "Ground Paintings".

#contempraryart
#painting
#contemporarypainting
#frottage
#santafeart

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In Somos Nosotros, an installation at the 25th Biennial of Sydney, I had the opportunity to collaborate with community members I have worked alongside over the past decade. In honoring their presence and contributions, each star in the installation is made using an article of clothing of personal significance to them, each carries their stories, family, and histories.

As shared in a recent Pasatiempo article, opportunities like this also carry a responsibility: to bring one’s community with you and to recognize those who have long supported the work. While a project of this scale requires immense effort, the attention should not rest on a single individual; it belongs to those who have contributed, trusted, and made the work possible over time. Within the installation, each star created for a community member carries that person’s first name and the initial of their last name, as an acknowledgment and to ensure their stories are held with respect and care. The work is rooted in bringing individuals across a region together—people who, while they might not know one another, share related experiences, held collectively within the same space.

Shared here is a selection of these stars and the names.

Elizabeth N.
Alexandra R.
Maria T.
For Delores M.
Maru J.  Alex M.
Leon de L. R.
Celina G.
Diego D.
Alfonse N.
Makaye L.
Vanessa A.
Ingrid L. V.
Manuel A. H.
Jesus A.
Yola Maria S.
Kemely G.
Joana R. G.
Lyanna D.
Ana I.
Bianca C.
Mario M.
Rosalina Q.
Martin B.
Cecy H. F.
Liliana H.
Estefania M.
Luis A.
Yvette S.
Veronica G.
Francisco F.
Paloma C.
Daisy Q. U.

Photo credit: Ellya Gunawan

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As part of the 25th Biennale of Sydney, Rememory, I was fortunate to be present and share the experiences of individuals living along the U.S. Mexico border, whose lives, stories, and contributions I deeply value and respect.

The work comes together as Somos Nosotros, which confronts the cultural, social, and economic exclusion embedded in the U.S. immigration system since its inception, which has created conditions of displacement that disproportionately affect communities already navigating systemic inequities. The ceramics materialize this condition through an intimate, community-centered archive, transforming donated garments into illuminated porcelain star forms that hold space for individual lives, family histories, and collective resilience shaped by displacement.

Made through a process of layering porcelain slip onto garments that are then burnt away in the firing process. A meditation on the symbolic and actual caging of immigrant communities in the U.S., Somos Nostros retains both a haunting and memorial quality as if suspended between worlds or borders, while honoring those who remain, resist, and remember.

Photo credit: Ellya Gunawan and the artist

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