In Hybrid Identities: Crafting Chicanx Objects, Prado re-creates a memory of traditional Sunday dinners held at her grandmother’s house, filled with music and family photographs. She invites the community to sit on chairs crafted from experiences of her own non-linear identity, providing the opportunity for audiences to hold mindful discussions that contemplate their own ancestry, memories, and hybrid identities. Each chair is purposefully labored over; woven, wrapped, painted, deconstructed and embroidered in resistance of decoration as “women’s work”, “craft”, or “bad design”.
Conceptually, Prado is influenced by a rasquachismo framework that celebrates “bad design” as a means of empowerment in a capitalist society, which typically suppresses complex identities. By using ready-made folding chairs, she draws upon a vernacular which unites the “in-between” of other intersecting communities, and welcomes all identities to congregate.