
Alé Rivas-Vargas - Dear Existence
About the Exhibition: Dear Existence is an exhibition that explores the interconnectivity and wide range of experiences shaped by the environments that we grow up in. While existence is one universal truth we all share, it's also personal experiences that make each of us different. Themes of identity, sexuality, poverty, gender, and belonging are central to this work.
Systems of power — gender roles, familial dysfunction, capitalism, poverty — teach us to internalize harm. These hierarchies are not incidental; they are designed. Class, race, and identity have always been interlinked.
This body of work doesn’t attempt to solve or explain. Instead, like many before and after, it insists on simply being. A presence. Dear Existence is a living archive. It is an invitation to pause, to feel, and to live in a moment rather than survive it.
Our understanding of care is deeply shaped by how we were cared for in our early lives. To me, love cannot exist without care. Romantic love isn’t the most important love. Instead, the deep connections found in friendship, chosen family, and the rebuilding or redefining of community are what matter most. Seeking support, healing, and reestablishing our inheritance are, in my view, some of the most powerful acts of existence. – Alé Rivas-Vargas
About the Artist: Alé Rivas-Vargas is a Mexican artist based in the Inland Empire and Los Angeles. Their practice is rooted in creating accessible, community-centered art spaces for underrepresented voices. Deeply committed to practicing art with mindfulness of native land and Indigenous people, Alé approaches art-making with an awareness of place, lineage, and collective responsibility. Their work is shaped by emotional and economic experiences. They are currently pursuing a BA in Fine Arts at the University of California, Los Angeles, where they are training in photography, sculpture, painting, ceramics, drawing, and time-based media.
Alé’s art is an intentional, ongoing archive of existence — a means of liberating themselves from the weight of the past, the complexity of the present, and the uncertainty of the future. Through photography, specifically portraiture, and cinematography, Alé documents their transition from adolescence into adulthood as a Mexican artist navigating life. Their identity and cultural background offer a lens that challenges binary systems, particularly around gender and belonging.
Friendship, family, and intimacy are central themes in their work, offering both grounding and transformation. Each piece emerges from Alé’s multidimensional lived experiences, inviting viewers into spaces of love, solitude, and self-discovery.

El hogar, 2025,
Inkjet print,
27 ½ x 19 ¾ inches.
Gracias a mi familia por mi existencia.

Untitled, 2023, Inkjet print, 19 ¾ x 27 ½ inches.

Untitled Work #3, 2025, 35 mm film (Inkjet print), 27 ½ x 19 ¾ inches.
I like to think of this photograph of my side of my bedroom as a portrait.

Untitled, 2023, Inkjet print, 20 x 16 inches.

Untitled, 2023, Inkjet print, 19 ¾ x 27 ½ inches.

Flowers, 2023, Inkjet print, 16 x 20 inches.
I am grateful to have grown up with flowers.
Flowers that sit still and look pretty.
Flowers are accessories. Cut off to not grow anymore.

GG, 2025, Inkjet print, 27 ½ x 19 ¾ inches.
Portrait of my brother.

Alé, 2025, Inkjet print, 27 ½ x 19 ¾ inches.
Traditional self-portrait made during summer, 2025.

La feminidad, 2023, Inkjet print, 19 ¾ x 27 ½ inches.
During the making of this piece I found myself struggling with the meaning of “feminine.” Whether it was for an audience or myself I was scared of being perceived in a way that was out of my control. I consumed my uneasiness surrounding femininity and have digested it to forms of theatrical femme representations of being a girl.

Gluttony, 2025, Inkjet print, 19 ¾ x 27 ½ inches.
I have a need and a desire to change and transform. To become someone new, something more, something I can’t quite elaborate.
Stuck in place for too long, I am dissatisfied and frustrated.

Self-Reflection, 2025, Inkjet print, 20 x 16 inches.
“I create art for myself”— it’s a statement I don’t like.
Being creative is not a selfish act, it is a selfless one. I view my artist self as someone that I am still getting to know and I find comfort in not knowing entirely who I will become.

Laundry, 2024, 35mm film (Inkjet print), 16 x 20 inches.
In between the orange and the pomegranate trees is a blue rope that hangs across the back of my house. The trailer in the background used to belong to a close friend but now is just a strange structure right next to me. I am constantly reminded of this reality when doing laundry.

Organs, 2025, Inkjet print, 16 x 20 inches.
The most exposed part of a cat is their stomach. Showing their soft underside means risking themselves and becoming vulnerable for any ill intent that may come. To me, it is the most vulnerable for other reasons. Everything I am is already inside of me.

Entrance to the Unknown, 2023, Inkjet Print, 16 x 20 inches.
I used to be scared of what was inside this door. I was always careful with how I viewed myself because of what the people inside here might say.
I don’t feel that way anymore. Two people in a room can’t decide my every move.

Shadows, 2024, Inkjet print, 16 x 20 inches.
Nostalgia is the root of my problems. No matter how many times I circle around the house, I can never find the little girl who lived here too. She used to hide outside the whole time.

#31, 2024, Inkjet print, 16 x 20 inches.
Numbers mean something different for everyone. The numbers “31” and the sequence “0123” stand out to me, and other people recognize different patterns completely.

Coca-Cola, 2024, 35mm film (Inkjet print), 20 x 16 inches.
Mi mami casi no toma Coca, pero esta foto fue capturada en una tienda no muy lejos de la casa de mis abuelos. A veces me pongo a pensar en qué tan diferente seria mi vida si mis abuelos todavía estuvieran.

5 Seconds of Time, 2025, Thirty-five mixed media cyanotypes , 8x10 inches each.
An extension of Running Away From ______. Multiple stills laid out to make a sequence.

Keychains, 2025, Oil on canvas, 24 x 18 inches.
Hello Kitty and Metal Sonic turned into keychains.
That is all this painting is — existence.

For the First Time, 2025, Inkjet print, 20 x 16 inches.
I am constantly chasing and searching for the feeling of being 15 and young. I find myself searching for answers in a version of myself that I can’t remember. My life is all about the exploration of people and myself.

Carmen, 2025, Inkjet print, 20 x 16 inches.
A healthy life shouldn’t be hard to obtain. Recovery is not a sign of weakness and it is a shame some view it that way. My mom looks beautiful and is alive.