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	<title>geo-vanna.com</title>
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	<pubDate>Mon, 22 Sep 2025 12:06:35 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://geo-vanna.com/Home</link>

		<pubDate>Thu, 26 Oct 2023 08:49:23 +0000</pubDate>

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		<title>Beneath the Sun, Lies the Wisdom Eye</title>
				
		<link>https://geo-vanna.com/Beneath-the-Sun-Lies-the-Wisdom-Eye</link>

		<pubDate>Thu, 13 Feb 2025 21:02:50 +0000</pubDate>

		<dc:creator>geo-vanna.com</dc:creator>

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&#60;img width="1280" height="852" width_o="1280" height_o="852" data-src="https://freight.cargo.site/t/original/i/3e3eafbe2332ce902af668b692134d9bcabe4a79269a2d5bfab612aec1daf3ff/Q1003442-Large.jpeg" data-mid="227028026" border="0"  src="https://freight.cargo.site/w/1000/i/3e3eafbe2332ce902af668b692134d9bcabe4a79269a2d5bfab612aec1daf3ff/Q1003442-Large.jpeg" /&#62;


	Beneath the Sun, Lies the Wisdom Eye, 2025




Materials: Powder-coated aluminum, stained glass, textile and wood&#38;nbsp;


Dimension:10x 8 x 8 feet
 

&#38;nbsp;Shows:&#38;nbsp;










Monument Eternal, Hammer Museum, Los Angeles, CA, 2025 &#38;nbsp;



&#38;nbsp;Commissioned by:&#38;nbsp;
Hammer Museum

Photography by: Gabriel Noguez&#38;nbsp;
	Inspired by the spiritual and musical legacy of Alice Coltrane, Beneath the Sun, Lies the Wisdom Eye is an immersive installation that serves as both a sculptural site and a stage for live performance. The title references two of Coltrane’s songs—"The Sun," created in collaboration with John Coltrane, and "Wisdom Eye," a reflection of her spiritual journey after his passing.


Drawing from Eastern religious architecture, the structure incorporates geometric proportions, the Four Noble Truths, and elemental symbolism—earth, water, fire, air, and space—akin to stupas and sacred sites. Steps lead to a central platform, evoking ascension and inviting contemplation, ritual, and transformation.


Material choices connect deeply to Alice’s music, life and spiritual practice. Stained glass, inspired by her home in Dix Hills, New York, symbolizes cycles of time and spiritual evolution. Wood elements reference the warmth and stability of the Coltranes’ home, while deep orange hues—significant in Hinduism and Alice’s devotion—create an atmosphere that is both inviting and sacred. A custom rug, influenced by the prayer rugs the Coltranes collected and Alice’s album artwork, further ties the installation to their artistic and spiritual journey.


Positioned as a sacred site for performance, the work embodies presence and absence, connection and transcendence, offering a space for reflection, movement, and sound.





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		<title>Performances </title>
				
		<link>https://geo-vanna.com/Performances</link>

		<pubDate>Fri, 09 May 2025 08:26:05 +0000</pubDate>

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&#60;img width="1280" height="854" width_o="1280" height_o="854" data-src="https://freight.cargo.site/t/original/i/0da9f1795092f0c6b52fb8e42baa8de1a9b5cb2dc75f98328a53343f631cd8e3/L1080895-Large.jpeg" data-mid="233074424" border="0"  src="https://freight.cargo.site/w/1000/i/0da9f1795092f0c6b52fb8e42baa8de1a9b5cb2dc75f98328a53343f631cd8e3/L1080895-Large.jpeg" /&#62;


	Turiya Rising Performance Series, 2025




Programmed by: Ross Chait and Erin Christovale



Location:Hammer Museum, LA

 Exhibition:&#38;nbsp;










Monument Eternal, Hammer Museum, Los Angeles, CA, 2025 &#38;nbsp;




Photography by: Gabriel Noguez&#38;nbsp;
	Every Sunday, visitors stepped into the galleries of Alice Coltrane, Monument Eternal to experience special performances on the installation stage Beneath the Sun, Lies the Wisdom Eye by GeoVanna Gonzalez. Each performance was a tribute to Coltrane's legacy as a musical innovator and a homage to her Sunday services at the Sai Anantam Ashram. The programming was curated by Ross Chait and Erin Christovale.
Performances by:&#38;nbsp;










Brandee Younger

Michelle Coltrane

Jasper Marsalis

Gerry Gibbs

Eduardo Signor

Jeff Parker

Devin T. Mays 

Mary Lattimore

Rahda Botofasina

Adee Roberson &#38;amp; Naliah Hunter

Ash Rucker













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		<title>Sacred Frequencies</title>
				
		<link>https://geo-vanna.com/Sacred-Frequencies</link>

		<pubDate>Mon, 22 Sep 2025 12:06:35 +0000</pubDate>

		<dc:creator>geo-vanna.com</dc:creator>

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	Sacred Frequencies, 2025










Materials:

MDF, foam, and fabric


Dimension:

156 x 48 x 1.5 inches


Shows: 

Monument Eternal, Hammer Museum, Los Angeles, CA, 2025 &#38;nbsp;


 Commissioned by: 

Hammer Museum





Location:Hammer Museum, LA&#38;nbsp;
Photography by: Joshua White&#38;nbsp;
	










This work investigates the relationship between sound, space, and collective presence. Inspired by the cosmic geometry of constellations, the architectural form of amphitheaters, and the meditative resonance of Alice Coltrane’s ashram, the listening station’s half-circle configuration creates an intimate environment for shared auditory experience. Tiered seating embodies the layered perception of sound, where rhythm, tone, and resonance operate simultaneously as structural and fluid forces, positioning listening itself as both an architectural and temporal act.













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		<title>Flowing Pathways</title>
				
		<link>https://geo-vanna.com/Flowing-Pathways</link>

		<pubDate>Wed, 22 Jan 2025 12:44:54 +0000</pubDate>

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	Flowing Pathways, 2024




Materials: Powder-coated aluminum, acrylic glass, and wood&#38;nbsp;


Dimension:30 x 20 x 10 feet
 
Fabrication: Custom Metal SolultionsIn Bloom Studio
&#38;nbsp;




Shows: Museum of Art and Design, Miami&#38;nbsp;
Credits: 
Flowing Pathways is made possible by&#38;nbsp;Museum of Art and Design, Miami Dade College.&#38;nbsp;
Photography by: Zachary Balber&#38;nbsp;

	










GeoVanna Gonzalez’s Flowing Pathways installation explores the fluid nature of identity, power, and transformation through the lens of rivers, drawing inspiration from their cultural, historical, and spiritual significance in Miami and the Caribbean. In these regions, nature acts as a profound metaphor for resistance, identity, and collective memory. From the spiritual symbolism of water in Afro-Caribbean practices to the ecological struggles central to the Caribbean, Flowing Pathways examines how nature serves as both a cultural and political force, weaving a dialogue between the Caribbean and its diasporic communities, including Miami.

Water serves as a unifying metaphor throughout the installation, embodying continuity, disruption, and resilience. Its fluidity prompts viewers to reflect on how colonial and societal structures act as both barriers and conduits for personal and communal expression.

The installation’s architecture mirrors the nonlinear flow of rivers, evoking the complexities of colonization, migration, and identity formation. By encouraging exploration and engagement, it blurs the boundary between observation and interaction. In doing so, Flowing Pathways invites reflection on not just individual identities but also the ways in which communities—like rivers—connect, reshape, and persist within the landscapes they inhabit.

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		<title>Film Without goodbyes &#124; film</title>
				
		<link>https://geo-vanna.com/Film-Without-goodbyes-film</link>

		<pubDate>Sat, 23 Mar 2024 18:21:22 +0000</pubDate>

		<dc:creator>geo-vanna.com</dc:creator>

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	Without Goodbyes, 2024




Materials: 2 channel video installation, 18mins
&#38;nbsp;

Director:
GeoVanna Gonzalez
Cinematographer:&#38;nbsp;
Juan Luis Matos

Producer:
Sotiris Tsiganos
Performers:
Angel Blanco
Rafael V. Cañals Pérez
Music:
GGST

Sound Engineer:
Ian Mercel

Shows:&#38;nbsp;Solo Exhibtion,Hallwalls, Buffalo, New York, 2024

Commissioned by:
 Hallwalls Contemporary Arts Center and made possible, in part, with support from The Andy Warhol Foundation for the Visual Arts, Margaret L. Wendt Foundation, Amy and Julio Alvarez-Perez, Dome Art Advisory, M&#38;amp;T Bank, and Erin County State of New York. 


	










Without Goodbyes is a meditative, nonlinear film that explores the fragile tension between what fades and what endures. Set in Camuy, Puerto Rico—Gonzalez’s ancestral home—the story follows two queer protagonists as they navigate personal loss, inherited memory, and cultural ritual.

Rooted in lived experience, the film considers how memory both disintegrates and persists—within individuals, families, and cultural history. It challenges traditional modes of remembrance by examining Puerto Rico’s evolving mourning practices, especially the practice of displaying embalmed bodies as if still alive, and how this alters the way people experience grief. 

Spiritual inquiry runs alongside the emotional journey. Drawing on espiritismo and Afro-Caribbean cosmology, the film invokes the presence of Yemayá—a guiding force of water, memory, and maternal protection. The characters’ search for meaning unfolds not only through grief but through ritual, dreams, and the invisible threads connecting the living and the dead.

Dance—specifically contact improvisation—becomes the film’s emotional and symbolic architecture. Through movement, the protagonists express what words cannot: grief, love, absence, and the slow erosion of time. Each gesture becomes a way of communing with something beyond language—a spiritual and corporeal communion with impermanence.

Without Goodbyes ultimately becomes a space where queer identity, ancestral memory, and spiritual tradition converge—offering a quiet, powerful meditation on how we mourn, how we remember, and how we remain connected. 
 
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		<title>How to: oh look at me &#124; installation</title>
				
		<link>https://geo-vanna.com/How-to-oh-look-at-me-installation</link>

		<pubDate>Thu, 26 Oct 2023 08:49:23 +0000</pubDate>

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	HOW TO: Oh, look at me, 2021




Materials: 

Powder coated steel and expanded metal 


Dimension: 

120 x 228 x 216 inches


Fabrication: 
Pulp Arts&#38;nbsp;
GeoVanna Gonzalez 




Shows:&#38;nbsp;Solo Exhibtion, Locust Projects, Miami Florida, 2021
Credits: 
HOW TO: Oh, look at me is made possible, in part, with support from Locust Projects, Oolite Arts, Diaspora Vibe Cultural Arts Incubator, and Pulp Arts.
Photography by:&#38;nbsp;
Zachary Balber
Juan Luis Matos&#38;nbsp;

	










HOW TO: Oh, look at me (2021) – Sculptural installation with live performance examining how identity and social interaction are navigated in both digital and public spaces. The installation presents a geometric, immersive structure that prompts viewers to consider how personal expression, social behavior, and self-representation are shaped by technological and social systems. Accompanying the installation is a short film featuring dancers and poets engaging with the sculpture, translating the fluidity of human interaction and negotiation of identity into movement, bridging the physical and virtual dimensions of social experience.





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		<title>How to film</title>
				
		<link>https://geo-vanna.com/How-to-film</link>

		<pubDate>Thu, 26 Oct 2023 11:59:01 +0000</pubDate>

		<dc:creator>geo-vanna.com</dc:creator>

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	HOW TO: Oh, Look at me, 2021










Run time: 

12:30 mins


Written and Directed: 

GeoVanna Gonzalez 


Produced: 

Monica Sorelle 


Director of Photography: 

Jessica Bennett


Edited: 

Juan Luis Matos


Colorist: 

Eddie Moon


Sound design: 

Nicole Miglis


Costume Design: 

GeoVanna Gonzalez 

Nicole Miglis


Funding Support: 

Oolite Arts 
Commissioner
Miami Light Project 

Miami Beach Art &#38;amp; Culture
 Kismet Creative Studio






	










HOW TO: Oh, look at me is a film that captures a multi-layered, interdisciplinary performance, serving as an activation of GeoVanna Gonzalez’s sculptural installation of the same name. The performance transforms the installation from a static object into a dynamic space of contemplation, meditation, and connection.

In the film, dancers and poets engage with the structure, embodying the tension between our physical and virtual selves. GeoVanna explores how we navigate the blurred boundaries of our digital existence—online and offline. The work questions: Are we truly present if our actions aren’t documented? Can we fully perceive someone or something without the mediation of a screen?

The two dancers move in a state of constant flux—rejecting and accepting one another, their bodies entwining and separating. Their movements mirror the rhythm of our digital interactions, alternating between intimacy and detachment, with the intensity rising and falling as their struggle for connection becomes more urgent.




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		<title>Lost underground Film</title>
				
		<link>https://geo-vanna.com/Lost-underground-Film</link>

		<pubDate>Thu, 26 Oct 2023 13:23:52 +0000</pubDate>

		<dc:creator>geo-vanna.com</dc:creator>

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		<description>
	Lost Underground, 2021










2 channel video: 

10:25 mins


Written and Directed: 

GeoVanna Gonzalez 


Film Produced: 

Monica Sorelle 

Pamela Largaespada


Director of Photography: 
Jessica Bennett


Edited: 
Juan Luis Matos


Colorist: 
Javier ‘Bilu’ Coello


Sound design: 
Yesenia Rojas


Costume Design: 
PIATORI


Funding Support: 
Oolite Arts
Commissioner
Maven Leadership Collective 
Kismet Creative Studio
	Lost Underground is an experimental dance film that delves into the essential role queer clubs play as sanctuaries of communal care and self-expression. These spaces, imbued with desire and intimacy, cultivate deep connections among individuals through music and movement. The film contemplates the significance of these environments as conduits of freedom, preservation, and liberation, tracing their evolution both before and during the pandemic.

Accompanying the film is a large, sculptural structure that disrupts the room while also guiding participants through a path before they are fully confronted with the film. This structure acts as a portal, partially obscuring the space in a way that mimics the entrances of queer clubs, where visibility is gradual, allowing visitors to be drawn towards the music rather than immediately seeing the entirety of the scene. It evokes the experience of stepping into a club, where one's perception unfolds incrementally, inviting engagement and discovery.

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		<title>PLAY, LAY, AYE &#124; ACT 1</title>
				
		<link>https://geo-vanna.com/PLAY-LAY-AYE-ACT-1</link>

		<pubDate>Thu, 26 Oct 2023 09:42:40 +0000</pubDate>

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PLAY, LAY, AYE: 

Navigating queerness, where space is always in flux, 2019-present




Materials: 

Steel, expanded metal, and plexi-glass


Dimensions: 

36 x 36 x 60 inches each


Shows:
Bass Museum, Miami Fl, 2019

&#38;nbsp;
Fabrication: 
Pulp Arts 
GeoVanna Gonzalez
Funding Support:&#38;nbsp;
Bass Museum






	











Part sculpture, part happening, “PLAY, LAY, AYE” drew from the French Victorian furniture design known as a tête-à-tête (head to head)—a sofa bearing an S-curve shape that allowed two sitters to face each other closely in conversation without ever touching. 


The historical form of the tête-à-tête speaks to desire, intimacy, secrecy, and restraint between two bodies. I remixed the tête-à-tête as a modular metal form with no barriers between bodies, creating a space where sitters are able to touch and feel one another if they so desire. I used expanded metal, echoing materials found in furniture at public parks—sites historically used by the LGBTQ+ community to engage in intimacy. 


Wanting to address this history, I invited artists and activists, POC, womxn, queer, trans and gender non-conforming folks—who often use their art, poetry and music as a form of self-empowerment—to sit in the structure and reflect, gather, and share their ideas of openness and outness, during an afternoon gathering at The Bass Museum. 


In addition, painted pink steel with blue plexiglass inserts plays with colors associated with the gender binary. As light mixes the pink and blue tones in the gallery space, parts of the sculpture reveal shades of lavender—a color long associated with gender non-conforming culture.






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