Emily Velez Nelms
Lives and works in Miami & New York
Artist statement
Emily Velez Nelms is an interdisciplinary artist working across sculpture, installation, performance, film, and architecture. She constructs immersive environments that examine how bodies and constructed landscapes become entangled in systems of desire, consumption, and power. By shifting the gaze, her work reveals how people and places are experienced, removing the neutrality from the act of perception. South Florida provides the geographic and conceptual foundation of Velez Nelms' practice—a landscape where tourism, ecological intervention, and colonial histories have constructed a distinctive regional identity. Her ongoing body of work considers ecosystems as living structures shaped by these forces. Water is a recurring subject throughout her practice. Its ecological behaviors and connection to South Florida's coastal histories provide a framework for understanding how geography, ecology, and human intervention continually reshape one another. Over the past decade, Velez Nelms has developed an expanding body of immersive installations that construct psychosomatic environments. Toward a Referendum on Performativity (2019) critiques the exploitative structures that have historically demanded performance from racialized bodies in public space, exposing the spatial and social choreography of spectatorship that has long entertained the American public. Let My Understandings At Times Allow Me To Rest Awhile (2024) holds divine vision alongside earthly fatigue, reflecting on...
Artwork
- Sheba, 2026. Short Film
- Resonance of Things Unseen: Indigenous Sovereignty, Institutional Accession, and Private Correspondence, 2024. Smithsonian Accession Files: William Sturtevant Papers, Mosquitos, Sugar, Paper
- Resonance of Things Unseen: Indigenous Sovereignty, Institutional Accession, and Private Correspondence, 2024. Everglades Mosquitoes, Sugar, Acrylic, Letters from the William Sturtevant Papers "Collection of the Smithsonian", Accession Files: Yale Peabody Museum, The Jungle Queen Architectural Plan Drawing
- Shed Skin, 2024. Short Film
- Two Types of Voyeurism, Or an Object that Knows Itself to be Seen, 2024. Sculpture, Bioluminescent Algae, Quinine, Resin, Mdf
- Two Types of Voyeurism, Or an Object that Knows Itself to be Seen, 2024. Sculpture, Bioluminescent Algae, Quinine, Resin, Mdf
- Let My Understandings At Times Allow Me To Rest Awhile, 2024. Ocular Imaging, UV Film on Plexiglass
- Let My Understandings At Times, Allow Me to Rest Awhile, 2024. Ocular Imaging, UV Film on Plexiglass
- Tracing a Gridded Violence in the Warmth of a Cruel Optimism , 2024. 20K Gold
- Sound Felt Through the Bones, 2023. water, steel, carpet
- Water is Sacred, Water Unites Us, 2023. Digital Image, Vinyl Installation
- Cattail Apparatus and Iron Rose Apparatus, 2022. obsolete scientific glass tubing, Sterling Chemistry Lab
- For Josephine, 2021. Paper
- Mosquito French, 2020. Mosquitos, nail polish, digital photography
- Toward A Referendum on Performativity, 2019. Wood, rope, perspiration, spoken text, Debra Paget performance (video excerpt) from Journey to the Lost City 1962, “Object of Comfort,” belly dancing belts, archival costume boxes, Images: Juanita Distrito Music Nelms, Felix Distrito, Fanned Prison, Rebecca Horn, 1978
- 305.954.561, 2018. Mixed Media
- Not Indigenous Nor Exclusive, 2018. Short Film
- Legitimation, 2018. Pigmented silicone
- Object of Comfort, Intersectionality, A Gaslighting Defense, 2018. Studio reader with annotations
- Untitled (Pink), 2018. Mosquitoes, eraser shavings, chair railing, mosquito netting.
- Baptism of Abundance, 2017. slanted platform, foam, vinyl, and glycerin