Baker Artist Portfolios

Angelica Neyra is an interdisciplinary artist, born in Miami, FL. She lives and works in Baltimore, MD attending the Rinehart School of Sculpture at Maryland Institute College of Art (MICA) as a Graduate Candidate for the expected graduation date of May 2026. She received her BFA in 2022 from Florida State University (FSU) with an emphasis in ceramics and sculpture. Being awarded the FSU Ceramic Excellence Award upon graduation, Neyra maintained her standing at FSU as their BFA Artist in Resident. Directing curricular Exhibitions for the program, they also worked as a lab technician in the FSU Ceramic lab while simultaneously teaching ceramic sculpture courses at the Art Center at Florida State University. Neyra is just beginning their artistic career and has had her work included in national publications, participated in group exhibits including at the Museum of Fine Art, Pensacola Museum of Art, Gadsden Museum, as well as a solo show in the Museum of Florida History. Now in Baltimore, attending MICA, Neyra works as an artist, student, and Graduate Teaching Assistant, currently assisting in the instruction of various ceramic classes and technical workshops.

As a custodian of the moment, their work is an extension of self, a collection of minuscule moments, pieces, and reflections that congeal to form a critique against prevailing power structures that limit experiences of personhood. Neyra is particularly interested in how individuals are subjected to exploitation and erasure. Examining multiple facets of neoliberal-u.s. society, she considers her role in a burning world. Pulling from multiple histories, personal, colonial, american, familial, Neyra traces the interconnected power structures that have historically and continuously perpetuate oppressive systems of violence against marginalized bodies.

The sculptures and performances Neyra creates are often abstracted, absurd, and charged with intimate associations between themself and the larger context in which she exists. Utilizing her own hair as a material, she fuses her being to the work, to their labor in making. Honoring labor that is so often diminished, women work, immigrant work, indigenous work, she employs labor-intensive methods and processes. Simultaneously, making use of ready-made, found objects that already hold their own associations and significance through personal or cultural connotations to form dual meanings that connect and contradict, playing further on absurdity