Tabora’s difficult childhood lead her to use art as an imaginary friend to cope with reality. As a result, personal matters tend to surface in Tabora’s artwork. Memories disguise themselves as a photo, drawing, a painting, in her cinematography, etc.Looking back at the history of Miami in 1983, the tragedies Tabora’s family faced being Honduran immigrants was to adapt and chase the pipe dream of an “American Lifestyle”.

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Much of the past energy resurfaces in Tabora’s paintings to include a lingering memory. A sort of “fill-in-the-blanks” effect occurs when she gathers people to pose in front of her camera or when she decides on the drawing or painting. Coming from Honduras to Miami in the 1980′s, Tabora witnessed many situations as a child that are recurrent and still ever puzzling – similar to seeing a crooked smile on a beautiful woman. Tabora’s sons contribute in carrying the level of sanity in her life, yet through them, she has witnessed the primitive characteristics one has been given by nature. As she try to evoke some kind of innocence to my paintings, drawings, photography and/or videos, Tabora is unable to veer away from capturing something raw.-

Tabora’s work depicts the primitive nature with surrealism by capturing moments that are interrupted, yet some work is staged to enhance a story. Props are used at times to help create a silly moment, a past, or a cinematic influence. In all media, drawing has been Tabora’s constant tool to release frustration of tolerance in society towards child abuse, sociological law and adaption. Xerox takes the place of a camera. The machines contribute to manifest the imagery through the black, seemingly infinite space. It deconstructs and integrates movement to the drawings.

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