EDRA SOTO: los ojos del viento (the eyes of the wind)
An interview with the artist in conjunction with her solo show
March 14 - April 11, 2026
Edra Soto: los ojos del viento (the eyes of the wind)
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The title los ojos del viento (the eyes of the wind) references both the etymology of “window” (from the Latin ventus, wind) and the metaphor of architectural openings as sites of observation, passage, and exchange. Throughout the exhibition, windows, screens, and thresholds operate as formal and conceptual devices—structures that frame vision while signaling movement, migration, and communication.
Edra, what is the meaning of these sculptural forms for you?
These sculptural forms are abstract representations inspired by Puerto Rican "rejas" — wrought-iron screens that symbolize the working-class communities of the archipelago and are now a staple of the nation’s visual language. The series is titled "por la señal" (by the signal) and through the symmetrical cross-like shapes, I am reclaiming meanings gained through a religious upbringing to express migration, direction, and the journeys that have brought me closer to my idea of what home means to me.
For this work, I draw inspiration from a tabernacle, a devotional centerpiece also known as “the place of dwelling,” a vision that impacted my upbringing while attending Catholic school. In questioning the methods of indoctrination in colonial traditions, I reclaim the tabernacle as a space for personal memories and a symbol of guidance and direction.
Left to right: Edra Soto, por la señal (26-7), 2026; por la señal (26-8), 2026; por la señal (26-6); por la señal (26-5). Paint, wood, viewfinder, inkjet print, various dimensions each.
Edra Soto, ocupantes (house holders), 2026. Medium-density fiberboard, polyvinyl chloride, paint; 107 x 137 x 2.5 in overall.
The work "ocupantes / house holders" is rooted in a series of works I developed from fragments of large installations, which I continue to repurpose. They are markers of a past that stands still in the present. As a living archive, they literally trace past works, continuously evolve, and influence my practice, which is driven by experimentation and the inspiration I find in the tension between play and rigor. As the primary material in my work, these machine-carved decorative patterns represent residential architecture.
Edra Soto, ruta (route), 2026, wood, plastic, paint; four parts, each 30 x 22 x 3 in (60 x 42 x 3 in overall).
"Ruta / Route," a cross-like shaped wall sculpture, is composed of four parts. As the parts come together, they conjure my sense of migration, direction, and orientation.
Works like "Joy, joy / Rio, rio" explore grief, resistance, and an impossible expectation at the human scale. Laughter in grief serves as a healthy coping mechanism, providing temporary relief from emotional pain, acting as a social connector, and predicting better long-term adjustment. It offers brief respites, reduces stress through chemicals like dopamine, and aids in processing complex emotions.
Edra Soto, Joy joy (Rio rio), 2024-2025, porcelain and silk lace. Each mask: 8.5 x 7 x 2 in (24 x 7 x 2 with lace); 32 x 18 x 2 in overall.
Tell us about the images inside the viewfinders...
The interior images are part of a large archive of photographs that I have taken with my phone throughout the years during my trips to Puerto Rico. They not only help me remember and reflect on those journeys, but they also assist me in building a narrative that expands in people's minds as they engage with my work. Looking through the viewfinders, the viewer sees an image documenting my everyday life on these visits.
Photos of my childhood home, family memorabilia, residential and colonial architecture, as well as advertising, media, and propaganda that inform Puerto Rican life are among the images viewers will encounter. The act itself is similar to looking through the quebrasoles (breeze blocks) and rejas surrounding a Puerto Rican home to catch a glimpse of a small part of the house behind the walls, challenging ideas of privacy.
Experiencing art can be as generous or transactional as the viewer chooses. The process of getting closer to unveil an experience requires personal investment. I love to present my work as an offering available to the public at all times. It is up to each individual to embark on the discovery.
Edra Soto, por la señal (26-14), 2026, left, and (26-13), 2026, right. Paint, wood, viewfinder, inkjet print, 23.5 x 23.5 x 3 in each.
Left to right: Edra Soto, por la señal (26-11), 2026; por la señal (26-10), 2026; por la señal (26-9). Paint, wood, viewfinder, inkjet print, various dimensions each.
What is the importance of personal sanctuary for you and, specifically, the works ability to create a personal sanctuary?
The experiences and memories that have shaped my life and their impact influence my personal philosophy. I value my biological and chosen family bonds as meaningful sources of faith, love, hope, and devotion. I have chosen to create work that commemorates my family life, pays tribute, and celebrates working-class communities.
Edra Soto (b.1971, San Juan, PR) lives and works in Chicago, IL.
Soto is currently presenting a solo exhibition, "Edra Soto: the place of dwelling," at the Kemper Museum of Contemporary Art in Kansas City, MO, and will open a new exhibition at the Museo de Arte de Puerto Rico in San Juan, PR on April 30, 2026. She has exhibited extensively at such institutions as the Museum of Contemporary Art of Chicago, IL; Carnegie Museum of Art, Pittsburgh, PA; Sculpture Center, Cleveland, OH; the Whitney Museum of American Art, NY; Public Art Fund, NY, NY (in Central Park); Phoenix Art Museum, AZ, and the ICA San Diego, CA, amongst others.
Soto’s work resides in collections of the Whitney Museum of American Art, New York, NY; the Smithsonian Asian Pacific American Center, Washington, D.C.; Museum of Contemporary Art, Chicago, IL; The Art Institute of Chicago, IL; DePaul Art Museum at DePaul University, Chicago, IL; Pérez Art Museum Miami, Miami, FL; Museo de Arte de Puerto Rico, San Juan, PR; Fidelity Investments Corporate Art Collection, Boston, MA; Google Art Collection, Mountain Valley, CA; The Berezdivin Collection, Espacio 1414, Santurce, PR, among others. Soto holds an MFA from the School of the Art Institute of Chicago and a bachelor’s degree from Escuela de Artes Plásticas y Diseño de Puerto Rico.