Episode 27: Sarah Biscarra Dilley


Episode 27: Sarah Biscarra Dilley

By Weston Teruya March 28, 2018

Weston Teruya welcomes artists, arts administrators, and cultural workers of color to get real about their lives, practices, and careers. Each episode is an in-depth look into how art gets made, but more importantly how these folks are seeing to the system of art’s (UN)making.

This episode features a conversation with multidisciplinary artist, researcher, and curator Sarah Biscarra Dilley. Sarah works expansively in collage, print, archival materials, handwork, and language; she’s a writer and academic investigating resilience, displacement, geography, and history, currently pursuing a PhD in Native American Studies at the University of California, Davis.

In our conversation, Sarah discusses maps as myth and legislation as literature to be interrogated, her research into the stories embedded in her yak tityu tityu yak tiłhini Northern Chumash familial lands, and role of intuitive image making in her practice. She also expands on the international relationships and projects she’s been developing between Indigenous peoples across the Pacific that echo and continue ancestral legacies of navigation and cultural exchange, particularly through an upcoming exhibition that she is co-curating with Leuli Luna’i Eshraghi, Freja Carmichael, Tarah Hogue, and Lana Lopesi at the Institute of Modern Art in Brisbane. Through that project, opening in September 2018, she is presenting the work of artist Natalie Ball.


Sarah Biscarra Dilley is a multidisciplinary artist and scholar currently residing in the unceded homeland of the Chochenyo Ohlone people. She is a member of the yak tityu tityu yak tiłhini Northern Chumash tribe. Her academic and visual work has been exhibited nationally and internationally at Yerba Buena Center for the Arts, California Historical Society, University of California at Santa Barbara, SOMArts Cultural Center, First Peoples House at University of Victoria, California Consortium for Urban Indian Health, Toronto Free Gallery, Open Engagement, and Native American and Indigenous Studies Association.

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This episode is funded in part by the California Arts Council, a state agency.

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