top of page
entangled portmanteau logo.png


galxies are enormous atoms

& footsteps

                     press down


00:00 / 01:13
El Ser Nébula Photo.jpg
00:00 / 00:21

los orígenes del ser nébula


semillita de cual, igual vienes

granito abofeteado en la vastedad

donde solo la gravedad tiene valor

Masa en polvito

de cual se forman
redondos y parte
del plato sencillo

que alimenta
una y otra vez

00:00 / 00:21


don’t rely on the horizon

as seductive as it’s feigned border is

a challenge in the periphery

an endlessness crouched behind

a two dimensional line


as haunting as

where the ocean says she meets sky


part of México City’s allure
is how it distracts you

from that li(n)e

covering the exit signs

with smog and ash

and the we’d rather not knows

knowing full well that

it’s just as beautiful and deadly

as a horizon


we should spy on the horizon

excavate how its foreplay with geometry

makes circles flat

a fire-eater

that dances with mirage


know full well

that our eyes make it do things 

it doesn’t do

when our heads are turned


know it exists for our benefit

dresses up as a limit

drawn deeper

at our approach


all horizons are events


and squint back

a barely perceivable blink

in disbelief

at how well

its camouflage works

00:00 / 00:36

safe (in) space


that certain proportion of longitude

dolled out in intangible ticks

that we carve like canyons with our experience


draw empty hollows

where our voices bounce back, cultured and strange


echoes really only have meaning
when you’re lost in solitude 


alive in the space between our ears

alive in the spaces we allow ourselves


a special kind of loneliness that is uniquely human


but home

payload (bottom drawer/ top shelf)


is larger than this america

though her quiet little shadow 

crawls timid and warm across its skin


watches throughout millennia

through, out 

bedroom windows

but doesn’t judge me

at all

00:00 / 00:25

gatekeeper’s launch


these bones finally belong to me

unground from dust decades ago

sewn together in a night of passion

and surprise


am ground

that i myself can push against

from where

i can change my trajectory

unmuddled by

the din

of opinion

00:00 / 00:09

(te piso, te mato)


líneas punteadas

dibujadas por pasos

que retoman

el aquí

de donde estoy


weapons of mass production


what will I do when I don’t have my mother
to tell me I’m handsome anymore?

Will nothing be believable?

Will that need leave me



it’s entropy that can’t touch energy

to recycle cellophane overlays of time

so a longing, a space on a shelf

is left open for some token

we have yet to earn.

00:00 / 00:33
00:00 / 00:40

plotted points 
(can also make constellations)


these autopsies of time

i’ve exhumed it yet again

before the evidence fades

eroded by the exhaustion of

“ni hablar”


distilled to whatever chemical

surged from a gland

and made me 

do what i did

which has made me

who i am


one more than 23 and me

but hours that sometimes register

like birds punctuating a telephone line

like they can hear what we said

on that call

long ago


Artist Michael Anthony García’s experience as a Chicano in the U.S. allows him to code-switch between Mexican and U.S. identities while understanding his alienness in both worlds. It is with this cultural lens that he extrapolates to a broader map of truths or questions about reality in general.


For Garcia, Chicanidad is an act of exploration and claiming of space as well as an acknowledgement of a healthy self-othering or personal permission for a self-determined existence. It is the distillation of the ubiquitous image of the known universe with the arrow indicating, “You are here.”


The work presented in entangled portmanteau teases the borders of García’s culturally specific perceptions as well as  viewers’ perceptions of the universe and their experiences in it. 


Humanity’s interface with reality is a simulation affected by programming and virtuality as depicted in science fiction,  or somehow colored by the lived experience of our own histories. With the clock and the calendar’s tick having become blurred during COVID, our collective and individual understandings of the passage of time has evolved to a point deserving of a deeper look, past our linear prejudice. It requires us to take personal ownership of the gates that open to our actual realities. 


In entangled portmanteau Garcia builds upon a practice of subconscious introspection of making artwork, and the honesty that comes from self observation. entangled portmanteau coaxes a creative entanglement by testing the fringes of García’s world, or as James Baldwin said, “The purpose of art is to lay bare the questions that have been hidden by the answers.”



Thank you to Kevin Ivester, Savannah Diaz, Kimberly Pollini, Jeannie Hua, Christine Gwilim and Aidyn Mancenido for the support of the production of this project.

bottom of page