The installation consists of roughly eight thousand paper ties—often used in agricultural work—twisted into long strands, suspended vertically from the ceiling, and arranged in ordered rows. Their red, white, and blue hues evoke the American flag, but the symbolism shifts. These ties form a curtain anchored into soil, swaying like crops in the wind, becoming at once a veil, a threshold, and a quiet monument. Each strand gestures toward weaving and harvesting, grounding the work in cycles of labor, repetition, and return.

Beyond this curtain, a photograph—taken in motion from a passing car—depicts the Rio Grande Valley. The image captures farmland in transition: seen quickly, partially, never in complete focus. This fleeting perspective reflects how much of agricultural labor is experienced—visible and only at the edges, encountered in passing, or glimpsed from a distance.

Pairing the curtain with a photograph—taken in motion from a passing car—reveals the layered landscape of the Rio Grande Valley.  Passerby: Americana asks viewers to reflect on what is seen and what is unseen, on how landscapes carry memory. This work takes on an architectural, freestanding presence, referencing monuments such as national flags or memorial walls. Everyday paper ties, in contrast with cultural symbols of permanence and reverence, complicate ideals of cultivated farmland while foregrounding the labor and histories that sustain it.

The title "Passerby: Americana" derives from its literal meanings. A "passerby" moves through, while "Americana" refers to artifacts of U.S. culture. Together, the title unsettles nostalgia, questioning how we might move beyond superficial encounters and toward empathy, curiosity, and authenticity. The work opens a broader perspective—one that acknowledges the complexity of multicultural, contested national narratives that continue to shape our shared landscapes.