I, too, overflow: b chehayeb, Victoria Palacios, Eilen Itzel do Espirito Santo, and Rosalie Smith

May came and went. So did June. Palm trees intertwined with spirals and shells. Nails rested on manicured hands across paper, or balanced on an amalgamation of metal. Horses draped in sand and dust rocked while two lost bunnies moved along a dark path. Things accumulate on the canvas; paint, dust, debris, pencil marks, figurines, shells, fingernails,  spirals, EZ-passes, harlequins, screws, and children’s toys. 

I, too, overflow considers excess not as indulgence, but as a way of knowing. Together, the works are manifestations of intimate, personal universes littered with symbols and associations. Across painting, drawing, and sculpture, surfaces become sites of inheritance: layering becomes memory, adornment becomes strategy, and material becomes an assemblage of history. Overflow emerges as accumulation, repetition, and insistence—a refusal to simplify experiences shaped by pleasure, grief, fantasy, migration, labor, and transformation.