WHO AM I?
Bio / Statement

  “My work seeks to monumentalize the detritus of consumerism and the industry that enables it. Fascism, the decaying half-life of capitalism, is dissected in the context of the megalithic remnants of ancient societies that too believed themselves immortal in the face of imminent apocalypse. Microplastics deposit in the soil, forming spoons in our brains and marking ours as a plastocene era for millennia to come. Lifeforms escape from the grinding seams of a system that fails to categorize and digest them. The ghosts of coywolves play amongst the rusting husks of automobiles, their bones long since picked clean and fashioned into tools and warding charms. I propose a post-anthropocene ecosystem of metal, bone, clay and oil, given life through light and sound.”

Galel Collins Estrada grew up between Tegucigalpa, Honduras and the USA. Their parallel experience of childhood in a banana republic under the boot of the American empire and life at the very heart of the war machine refuses to untangle. Their time at vocational school specializing in computer-assisted design has informed their study in the 3D arts and interrelated media departments of the Massachusetts College of Art and Design, simultaneously working in the field of audiovisual production. Galel has shown work abroad and at home, worked in the Boston underground music scene, and behind the scenes of production for Harvard Medical School’s conferences. Having joined in ‘23, they currently hold the rank of Morale Officer for the MassArt Iron Corps. After having been involved in the inception of guerilla art-market Carcass, they led the organization of performance at the event’s most official incarnation: Carcass Carnival at the Armory in ‘24. More recently, Galel focused on the curation and installation  as a lead producer and curator for the ‘25 SIM department show and the independent BIG DEAL large-scale work exhibition.  They are a candidate to receive their BFA this spring.