Libbi Ponce


Ponce explores the nuances of living as a queer Ecuadorian-American femme through myth, sculpture, performance, and new media. DV cassettes, DSLRs, and 360 cameras serve as recording devices for structured and informal footage rooted in familial analysis. Excavation of identity led to the realization of the inaccessibility, erasure, and invisibility of Latin-American history. A digital personal history is created through archival research and presented as immersive video installations, sculptures, or internet links. Ponce brings together contemporary recording and display devices with ancient Andean artifacts, vintage bathroom design, and experimental perspective. She is interested in the grid as a plane of existence and as pixels, ancient works by the Milagro-Quevedo and Chorrera cultures, and characteristics ascribed to animals--such as the loyalty of dogs--, Halo 5, and questioning traditional roles of femininity inscribed to artificial intelligence. Currently, she is constructing a digital environment for an interstellar alter-ego. She layers planes of the virtual atop one another, creating a multitude of transparencies that produce a new form of vision. Ponce works with themes of Latinx-Futurism and modes of decolonization through the virtual.

An aspect of Ponce’s work involves bili cepon, a version of the artist, who often travels
through time and dimensions (most consistently, the internet) with the aim of preventing
intergalactic space colonization from threatening other dimensions like it happened with her
home planet. For the past two years, Libbi Ponce has acted as bili in multiple performative pieces
where she showcased her concerns regarding modes of identity, representation, mental health,
Latinx Futurism and decolonization.


Libbi is an Ecuadorian-American artist currently working in sculpture, video, installation, and performance art. 

She is currently pursuing her BFA in Studio Art and BA in Philosophy at the University of South Florida. 

Because of her immigrant upbringing, she doesn't get many American pop-culture references and, due to her own honesty, never gets sarcasm.


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