In her manifesto, Borderlands/La Frontera, Anzaldúa presents what she calls a new mestiza consciousness, which advocates for ambiguity and moves "toward a more whole perspective, one that includes rather than excludes." Groundbreaking when it was published in 1987, this theory pushed queer, feminist, and cultural scholars to consider how identity is both fluid and informed by several overlapping factors. It also helped to lay the groundwork for branches of study like ecofeminism,
Over the past two decades, Clare Rojas has developed a deeply personal visual language that is equally rooted in mythology, ecofeminism, as well as the legacy of abstraction. Moving freely from dense, fantastical landscapes to minimal compositions, Rojas' own experiences are often the starting points of her paintings, connecting these to nearly fantastical depictions of the environments in which she works.