Cielo Saucedo (1993, Whittier, CA) lives and works in Los Angeles, CA. They are an access worker and artist from a family of migrant farm workers. Their work encompasses writing, computer generated imagery, sculpture and machine vision. They received their BFA from School of the Art Institute, Chicago in 2020, and their MFA at UCLA in 2024. They were an Eyebeam Democracy Fellow (2024). They are a part of the artist collectives, PlaceHolder and Cripping_CG. Recent exhibitions of their work include presentations at Coaxial Art Center (2025), PlaceHolder Gallery (2025), The Armory, Pasadena for Getty PST (2024), Francios Ghebaly, Los Angeles (2024), BlankSpace, Pittsburgh (2023), New Image Gallery, Los Angeles (2023), Honor Fraser, Los Angeles (2024), MexiCali Biennale, The Cheech at the Riverside Museum (2023), Human Resources, Los Angeles (2022) Experimental Sound Studio, Chicago (2021) and Rudimiento, Quito (2021). They have given panels and lectures at NYU, UPenn, the Whitney Independent Study Program, Emily Carr University, Indiana State University, and the Sandburg Instituut among other institutions.

CIELOSAUCEDO@PROTONMAIL.COM
Masticado Series Series shown for: Getty PST at the Armory Pasadena (2024), Glitch Ecology at Honor Fraser Gallery (2023) and the Mexicali Biennial at the Cheech (2023). 

Maseca, is symbolic of post NAFTA policies and ancient technology.  The subjects of the prints: pillaged artifacts (3D scanned and uploaded on to open source databases to be endlessly downloaded) are coupled with organs and bones. In the imagination of the computer, the prints are always whole, virtual, and complete but through their movement through the machine and environment their brokenness is made evident. But in their fragility a timeless and ancient image is achieved. The mold that is introduced by nature of their organic form shows that life prevails, regardless of circumstance, policy or violence. Life grows from it all. 

The work uses two technologies generational impairment. I frame my own body within these material histories. 

The mode of presentation, the motif of the crate and museological vitrine, gestures to the circulation of artifacts and people both economically and culturally. Archeological techniques, such as plaster repair and foam packing gesture to the wishes and limits of institutional care. 

These works have been shown at the MexiCali Biennial and at Honor Fraser Gallery. 

Press; 
Los Angeles Times
Art Review
Hyperallergic


2022- ongoing