Creative Access Audio Tour
Introduction
Welcome to grunt gallery’s creative access audio tour of A volar entre rocas, the exhibition project by artist, Mariana Muños Gomez. My name is Kay Slater. I am a white, hard-of-hearing, queer settler on these stolen and unceded Coast Salish lands. As the accessibility and exhibitions manager and preparator here at grunt, I assisted in installing this work. While I wrote and narrated this tour today, any pronunciation errors or cultural misrepresentations are on me. We welcome your feedback as we develop more creative access tools for our gallery and exhibitions.
This tour has four chapters in 9 parts. At the start of each chapter, you will hear this sound of a page turning:
[ Page turning ]
First is this intro. In Chapter One, I will detail entering the space and orienting yourself in the gallery. In Chapter Two, I’ll describe our welcome station and the objects available for you to use and touch. Chapter Three covers our facilities, washrooms, and C-Care stations. If you’re ready to tour the show, skip to Chapter Four, where I will read the wall didactic and walk you through the show. If you are skipping ahead, be aware that the welcome station has 2 tactile maps to help you navigate this tour. When I move to a new artwork, you will hear this sound of church bells:
[ Church bells ]
Each artwork description within Chapter Four is divided into its own audio part so you can skip or return to an artwork description as you move through the show at your own pace.
Let’s get started with Chapter One.
[ Page turning ]
Chapter One
When approaching grunt gallery at 350 East Second Avenue from the accessible drop-off on Great Northern Way, follow the sidewalk to the building’s main entrance. Turn left at the entrance, and you’ll find us at the first exterior door, unit 116. A low-grade ramp leads to our front double doors, with automatic door buttons at waist and ankle level on a post to the right. Be cautious of the small lip at the threshold, a potential tripping hazard. Excluding Thursdays, masks are now optional and only recommended indoors at grunt; if you forgot yours, we have extras near the entrance and will not enforce their use outside of Thursdays for low-sensory and voice-off visiting hours.
Welcome to grunt gallery! We are situated on the occupied, stolen, and ancestral territory of the Hulquminum (hull-kuh-mee-num) and Squamish (Squ-HO-o-meesh) speaking peoples, specifically the land of the Musqueam (Mus-kwee-um), Squamish, and Tsliel Waututh (SLAY-wha-tuth) peoples and families. We are grateful to be here.
The current show has many installations on the ground near the walls and a shelf installed on the back or sound wall. There are also 2 cube seats in the back left corner within a small alcove. While there is space to walk, be aware of the stones on the ground if you use the wall to travel. If you require assistance and are not greeted by staff upon entry, please call for help. Staff are in the office and will assist you as soon as possible. We are always happy to walk the show with you.
The public gallery space is a cube with 20-foot walls on two sides, 20 feet of panelled windows at the entrance, and a 12-foot south wall that opens 8 feet before reaching the ceiling, providing light to the loft office space beyond. The office is not visible from the gallery, except for a large convex mirror that allows staff to see visitors. A tone rings when people enter the space.
On low-sensory and voice-off Thursdays, a staff member will be available but will not greet you, allowing you to move at your own pace. If you are Blind, non-visual or partially sighted, call out for help anytime. If you are sighted, please silently approach a staff member. We have hard-of-hearing staff on site, so a visual wave may be required to get their attention.
[ Page Turning ]
Chapter Two
As you enter the gallery, immediately to the right on the west wall is a sanitization and welcome station. The station is white with black labels in English, high-contrast icons, and some braille labels. There are three open shelves, including the top surface, two pull-out shelves below, and two closed drawers with d-hook handles.
On top of the welcome station is our gallery spider plant, Comos, who is watered on Wednesdays. The top surface holds a leather-bound guestbook with a black pen, and a box of masks with tongs. A digital tablet allows you to browse the exhibition page on our grunt.ca website or access our Big Cartel eCommerce store.
On the first pull-out shelf, on the left, is the exhibition binder with large print information about the space, the show, the artist, a transcript of this tour, and the exhibition map. On the right are a series of tactile objects. Our tactile objects are creative access tools designed to create a point of entry for non-visual, Blind, or partially sighted guests who may wish to experience the work through touch or by bringing the objects close. However, tactile objects are also sensory objects that can be used by sighted folks who wish to feel a connection to the work and those who enjoy or are supported by having objects in their hands to touch.
The first is a scrap piece of washi paper, which is installed throughout the show, directly onto the wall using rice paste . We ask that visitors not touch the installed work on the wall as they are delicate, but the dry scrap here is quite sturdy.
The second tactile object functions as a low-vision asset, as we have vinyl text installed throughout the show, specifically designed to be obscured, as it’s colour is similar to the painted walls. A piece of plastic allows for the lettering to be more visible, for the shapes to be more easily recognized, and allows for tactile exploration.
These tactile objects are provided as a sensory point of entry into the works and are not necessarily representative of the work or equivalent to experiencing the works through explorative touch. We do not present these objects assuming that you have never had access to rocks or washi paper, but we are also not assuming that you have had these experiences. Smell them, hold them, observe them. Use them however you’d like as you engage with the show.
On the second pull-out shelf, to the left, are laminated maps of the space. Also within these shelves are two tactile maps. A tactile dollhouse map of the gallery, and a flat 2D floorplan tactile map of the spaces past the gallery box. Use the dollhouse and 2D tactile maps to follow along with creative access tour while in gallery. Works are indicated by unique shapes glued to the ground of the 2D floorplan, and in 3D relative to the wall of the dollhouse map with braille markers A through I. In an experiment, the dollhouse has fold away walls that allows the works to be explored in relation to the height of the walls, but we welcome feedback on this new feature.
To the right of the maps are two Yoto audio players with large, friendly buttons. These players contain this tour and audio of any text within the binder. There is also a scannable, laminated QR code that links to this audio tour. On Thursdays, the Yoto players are moved to their carrying cases for use with headphones.
Below these are the two closed drawers. The first contains carrying cases with straps for headphones and the Yoto audio devices, allowing hands-free use.
The lowest drawer contains earmuffs for large and small bodies, specifically for those with noise sensitivities.
That concludes the description and tour of the welcome station. In the next chapter, I will tell you about our washrooms and care stations. If you’d prefer to continue with the exhibition tour, skip to Chapter Four.
[ Page turning ]
Chapter Three
If you need to use the washroom, it’s at the far end of our space. Exit the gallery through the doorway and continue following the west wall (to your right when you entered). Pass by the media lab, and when you reach the back wall, take a left and walk through the small kitchenette to our single-room, gender-neutral washroom.
If you’re using the 2D floorplan map, the washrooms are located at K.
An automated door button to the right holds the washroom door open for 14 seconds. Inside, to the left of the door, is the lock button which creates a visual indicator that the washroom is in use. To exit, you can open the door manually or hover your hand over a button above the sink, below the mirror and to the right.
Near the exit button is a vertical cubby stack of supplies. Please help yourself to items like hair ties, disposable floss, sanitary napkins, and condoms.
Returning to the media lab, we have a tea station. If you need some energy, please help yourself to a drink.
If you’re using the 2D tactile map, the tea station is at location J.
We now arrive at Chapter Four, where I will begin the exhibition tour next to the welcome station, as if I had just entered the gallery and stepped right to grab a map.
[ Page turning ]
Chapter 4: Exhibition Tour
If you’re using the tactile maps, we are at location A on the dollhouse near the front of the gallery. The front of the gallery is marked by a wall of cutouts to represent the many windows.
On the wall behind and above the welcome station is text in white vinyl that reads:
A volar entre rocas
Mariana Muñoz Gomez
Curated by Vance Wright
September 18 to November 1, 2025
A volar entre rocas explores self, place, and migration, weaving together memory, land, and power through the materials of Tyndall stone and volcanic rock. Mariana Muñoz Gomez connects their two homes on opposite ends of Turtle Island, reflecting on diaspora, movement, and belonging. The work emerges from a process of diasporic introspection, drawing on memories, media, and research into their homeland.
Mariana developed this body of work through what they describe as a diasporic introspection: noticing when experiences in one home reminded them of another; spending time with photographs, videos, memories; and researching their homeland on the internet.
Within the exhibition binder at the welcome station is the full exhibition abstract, a curatorial essay, artist bio, transcripts, and descriptions of works in the show. This text is available on the Yoto audio player in gallery, or by scanning the QR code or tapping the NFC tag on the wall near the welcome station. Listen or read these at your leisure!
The walls are painted a brick red tone—the colour of west coast autumn leaves or wet clay. Unlike most shows at grunt where we use flat matte paint, these walls are painted with an eggshell enamel, which creates a slight gloss and a slippery feeling when touched. This colour creates high contrast with the white vinyl text installed directly on the walls.
The show comprises three works installed on the walls and on the floor near the baseboards.
Work One: The eponymously named A volar entre rocas, 2021 contains seven washi prints rice-pasted onto the walls, six piles of Tyndall stone positioned on the floor near the prints, and text sentences scattered across the walls cut from ocre-red vinyl that nearly disappear atop the wall colour.
Work Two: mapping elsewhere, 2022 is an artist book displayed on a volcanic rock shelf. A full visual description has been narrated and is available on our YOTO players or online.
Work Three is a video work named Untitled, 2022 projected and looping in 20-minute intervals. On Wednesday, the audio described track is playing for low-vision and blind audiences, and on Thursday, the sound is off for silent and low-sensory visiting hours. Transcripts can be found in our binder and online.
All Tyndall stones on the floor are cane-detectable and fairly sturdy. If you bump into one and are concerned you’ve dislodged it, please call out for a gallery docent and they’ll reset it. The volcanic rock shelf on the south wall sticks out slightly—when you encounter the Tyndall stone pile in the middle of the back south wall, this indicates you’re approaching the shelf. I’ll remind you as we approach location E on the tactile map.
The laminated and tactile maps, available at the welcome station, list the works in that order, but for the work, A volar entre rocas, 2021, since the prints are spread out around the room, we’ll jump around a little.
As a reminder, when I physically move, you will hear this sound:
[ Church Bells ]
Part Two – Location B
If you’re using the dollhouse tactile map, we are moving from the welcome station (A) to location B, along the west wall.
Moving left from the welcome station are the first prints and stones within the work titled A volar entre rocas, 2021.
Before I describe the individual prints, text and stone sculptures, let me give you context about this work. Each of the seven washi prints is a digital collage of stone walls and foliage that Mariana documented at their grandparent’s house in Mexico. At first glance, they look natural—stone blended with stone, plants growing beside or out of fixtures. But the more you look, the more obviously doctored they become.
Mariana talks about examining the imperfection of memory but also about the need, especially as an exhibiting artist, to distance the intimacy of the work. While creating this work, they were acknowledging that one day they wouldn’t have access to their grandparent’s house, a house that their grandfather built. In fact, the house recently sold and is no longer in their family.
Though the work is deeply personal, literally Mariana’s grandparent’s house, their family’s plants, it’s also what Mariana describes as “very much a diasporic artwork.” The composite nature of these images allows the work to resonate beyond one family’s story, speaking to broader experiences of movement between places, fragmented belonging, and the ongoing construction of identity in diaspora.
The Tyndall stone placed throughout the gallery connects to this theme. Tyndall stone is a limestone quarried in Manitoba, near Winnipeg where Mariana lives. The stone itself is fossiliferous—millions of years old, containing traces of ancient sea life, absorbing and recording history. Mariana brings their two homes on opposite ends of Turtle Island into relation through these materials: Tyndall stone from Winnipeg and volcanic rock from Mexico, both vessels of time, embodiments of movement, and witnesses to history.
The vinyl text on the walls is intentionally difficult to read—printed in ocre-red on the brick-red walls, the words nearly disappear.
Mariana reflects: “I was hesitant [about] being too vulnerable. I had this text and I felt a bit awkward just like putting it right on the wall. So, I guess this was another [little way of creating emotional distance], but I do really like that the light can affect the legibility of the text. When you walk around the space, you might notice a text that you had no idea was there before.”
There is a high-contrast version available at the welcome station that shows all the text together, but as we move through the tour and I discover a text, I’ll read it.
At location B, the washi print shows a cracked piece of chalky white Tyndall stone that looks like a wedge of cake, blended into a darker stone wall made of small pebbles and larger stones held together with pale mortar. Each fleck and piece within the wall is quite visible. The lower half of the print features a thick, flat-leafed leathery and shiny looking plant.
Below the print, three lines of vinyl text read:
this limestone has been here for millennia,
like a stone I recall at my grandparents’ house,
absorbing and recording history
Below the text, on the floor, is a stacked pile of three Tyndall stones. The bottom stone is quite large, the middle is a flat rectangular slab, and on top is a semicircle piece. While most faces are flat and polished, the semicircle’s flat edge where it broke from a larger piece is textured and craggy. Throughout these stones you can see subtle discolourations.
Mariana says: “The gray mottling…is where creatures have burrowed through. So the rocks, even though they’re not alive and moving around, they hold so much life.”
[ Church Bells ]
Part Three – Location C
If you’re using the dollhouse tactile map, we are moving from the location (B) to location C, continuing along the west wall.
Here, we stand before the third-largest of the prints. Again, there is a stone wall, with those thick flat leaves in the upper left as if a tree branch hangs from above. But beyond them, a brick courtyard has been dropped into the composition, as if we’re peeking through a hole chipped in the wall. In the lower right corner is a soft-petaled hibiscus flower, the colour of rose candy with scalloped-edge leaves. “That’s one of my favourite plants in my grandparents’ garden,” Mariana reflected. “There are so many hibiscus trees in Mexico, but it’s not from Mexico, actually.”
Surrounding this work, the vinyl text reads:
entre las rocas
siento que estoy ahí
as an adult, I learn
that Winnipeg used to be
Red River, a largely Métis city
Below this print are two relatively equal-sized Tyndall stones. The bottom one has a diamond shape with a flat, polished top and rough edges. The second stone is laid on top but also leans against the wall, showing only its rough, weathered underbelly while the polished side faces the wall.
[ Church Bells ]
Part 4 Four – Location I
If you’re using the dollhouse tactile map, we are moving from the location (C) at the southwest corner and edge of the west wall, and moving diagonally back towards the entrance and to the northeast corner, location I, left of where you came in.
Instead of continuing along the south wall and moving clockwise around the gallery, I’m moving diagonally back toward the entrance. Facing the east wall, I face the largest print in the exhibition. Within the video footage showing in gallery, Mariana edits this very image. Unlike the previous 2 images, this one clearly reveals itself as a composite.
Most of the image is textured dark stone and white mortar. But in the upper left corner is a quarter-circle window. Brick is laid around the perimeter like seconds on a clock. Within that brick frame is a metal window grill with vertical bars. And within that, a window pane opens outward.
Here’s where it gets strange: where the window should reveal a space beyond, instead there’s only more stone wall—the same stone that fills the rest of the image. My eye knows this has been doctored. The illusion becomes harder to accept. However, where the window glass is fixed and closed, it actually reflects trees from a courtyard beyond. So other than where the window opens into impossible stone, it’s a convincing illusion; it’s just that the more you think about it, the more you realize it’s not quite right. Like memories. Like dreams.
In the lower right corner, the stone wall ends in creeping ground-cover ivy. There’s a whisper of brick courtyard floor. And growing from the edges of the wall are those flat-leafed plants, but these are particularly vibrant. They’re dark kale green with lemon-yellow spines and leaf veins, like tiger stripes. It’s very dynamic against the light and dark stone.
Surrounding this large piece is quite a bit of text, almost like a frame, though you really have to search for it line by line. Reading from bottom to top, left to right:
these stones saw the signing of Treaty 1,
a handful of generations ago
los monasterios
en las faldas
de Popocatépetl
were constructed
around the same time
as el Palacio de Cortés
To the left of this work on the ground is a single triangular Tyndall stone, polished edge facing forward. To the right are several smaller flat stones stacked on top of each other in two piles. The flat, top-most pieces look like chocolate bars broken into chunks, with a slightly larger, flat stone at the bottom of each stack. All have polished tops; only their sides are rough and unpolished.
I want to note something about these stone arrangements. Mariana ships a variety of stones for each exhibition and then trusts their instincts to place them relative to the new location, rather than having predefined sculptural intentions. At the end of the show, these stones will be available for community members to take – we’ll make an announcement online. For sighted visitors moving through the space, unless particularly interested in geological textures, these stones might not demand much attention, but when considered as an object that would move into your space, these details become more personal. If you’re considering taking one of these stones home at the end of the exhibition, the specific shapes and textures I’ve described may help you decide which stone calls to you. If you’re interested, let our team know.
[ Church Bells ]
Part Five – Location H
If you’re using the dollhouse tactile map, we are moving right from location (I) at the corner near the window to location H near a perpendicular short wall.
Moving right, I approach an artificial corner in the gallery. If you reach out toward the right, you’ll bump into a temporary wall that extends perpendicularly from the east wall. This six-foot-tall wall creates a small alcove in the southeast corner for the video projection.
Before encountering this temporary wall, there’s another pile of Tyndall stones on the ground—a heads-up that you’re approaching the wall corner.
At location H is another washi print. This one, until you look closely, seems the most convincing as a single snapshot—as if it hadn’t been doctored much. It appears to be a close-up of that thick, glossy, flat leaved plant growing from the ground.
But toward the right side, the foliage has obviously been added atop the background wall because it suddenly crops or cuts off in an artificial straight line, while the stone beyond continues. It’s obvious that the plant picture was taken separately. The two memories, the two layers, don’t quite line up. I really enjoy that imagery here.
Below this print, the final vinyl text on the east wall reads:
my grandfather laid them down
just a few years after
he came to the “new world”
Now I am going to pivot and face the temporary wall.
[ Church Bells ]
Part Six – Location G
If you’re using the dollhouse tactile map, we are moving from the location (H) to location (G) facing the perpendicular short wall.
In the upper right corner of this six-foot-high wall is a torso-sized washi print positioned right against the top and right edges. This one feels voyeuristic. The stone wall in the foreground is dark and shadowed, with flat-leafed plants coming up from the right and above, further obscuring the hole. Through this opening, you see a brick wall beyond, brightened as if the sun hits it directly.
There’s a bright white area—possibly a curtain, possibly a door flung open—where sunlight has bleached out the detail so you can’t quite make out the material. And then there’s something like a sign or picture with two holes as if it’s bolted to the wall, and on this panel appears to be an illustration of a house or building. It’s as if we’re peeking into a secret alcove beyond the wall.
On this temporary wall facing south, vinyl text reads:
when there was
space
between Tlaltenango and Cuernavaca
la ciudad creció y llegaron vecinos
On blending English and Spanish throughout the show, Mariana noted that language creates different layers of access to the work, similar to how visual familiarity with these materials varies. Reflecting on this, they said: “Even if I’m making this work with Spanish and English, thinking ‘people that have a history with both languages can engage with it in a certain way,’ it’s been interesting to realize what kind of significance this would have in Mexico—it would be totally different. So it’s very much a diasporic experience.”
Below in the wall’s lower left corner, opposite from where the print sits in the upper right, is a long rectangular Tyndall stone, polished on front, top, and back. It’s like a barrier in a parking space or the edge of a sidewalk—a flat, long rectangular prism. On top are three more stones. Unlike other piles where stones get progressively smaller, here there’s actually a large piece on top, it’s exposed, textured broken section faces up and around the sides, with the polished side facing down. On top of that craggy piece is one more small hand-sized wedge, polished side up.
[ Church Bells ]
Part Seven – Location D
If you’re using the dollhouse tactile map, we are moving from the location (G) to location (D) facing the south wall, left of the exit to the media lab.
From the edge of the temporary wall, I am sidling two steps right, and then walking forward 3 steps to arrive at location D facing the next print. You could also step all the wall to the east wall and then follow it to the opening to the media lab and then turn 90 degrees. Either path is clear to walk.
This is the second-largest print in the show, installed so it bumps against both the baseboard and the Media Lab entrance to the right. Nine-tenths of this image is that familiar textured stone wall with dark stones and pale mortar. Toward the bottom, the image blurs slightly and gives the sense that the wall extends down into a rock courtyard where ground ivy grows between stones.
Mariana reflects on visiting the quarry in Winnipeg: “There were a bunch of little plants growing in between cracks from the Tyndall stone. It was a reminder that plants will find a way. [Even in rock], there are minerals. So they are also feeding other organisms around them in some way, even if it might take a long time for them to break down to that point.”
In the foreground of the lower left corner of the washi print, are isolated laundry lines with plastic clothespins. One line moves from a corner up toward the center before fading into blur. A second clothesline moves from the lower corner to the right, where the plastic pins clip bright-coloured fabric. Because this work is a composite, a cobbled-together memory rather than a single location, my brain accepts that the laundry line doesn’t quite go anywhere. It exists in a dreamlike space where things don’t have to make complete sense.
On the ground in the lower left corner are three more Tyndall stones arranged in a triangular formation. The furthest back leans against the baseboard with its polished top facing the gallery. The other two stones spread out from the wall with polished tops facing up. Around their edges you can feel the raw texture where they’ve been broken from larger pieces. The largest stone, closest to visitors, has a triangular or heart shape. The smallest is circular.
[ Church Bells ]
Part Eight – Location E
If you’re using the dollhouse tactile map, we are moving from the location (D) to location (E) facing the south wall and moving left.
Stepping back slightly from the large washi print, I move left a few steps and face the work mapping elsewhere, 2022, an artist book displayed on a volcanic rock shelf.
This volcanic rock shelf was commissioned by Mariana. Unlike Tyndall stone which is mined in Winnipeg, this volcanic rock came from Mexico. The shelf has been worked and polished so that despite the porous, pockmarked appearance of volcanic stone, the surface feels surprisingly smooth almost soft to the touch. The shelf is a uniform gray with occasional white flecks. Unlike most shelves which are flat on top, this one has a small lip on its upper edge, which allows the book to lean against the wall with its bottom edge caught rather than sliding forward.
On the top left of the shelf is a small triangular Tyndall stone, cut as a prism with the polished side facing outward and the three other sides showing the rough, craggy texture from where it was broken from a larger body. To the right are small palm-sized pieces of unpolished volcanic rock with a slight red dusting similar to the wall color. Please handle these volcanic pieces very gently if at all.
The book itself, mapping elsewhere by Mariana Muñoz Gomez, has a glossy soft cover and is an edition of 45. The illustrations were all hand-drawn, and within the 45 editions, Mariana coloured each one slightly differently.
Mariana reflects: “I wanted to individually hand colour the book, so they’re a little different every time. And to me, that just kind of connected to remembering a place, and you might remember it a bit differently every time, or different things that come to mind might illuminate different parts of it.”
A complete audio description of the gallery edition is available as a separate chapter on the Yoto player and in the binder.
For this tour, here’s a summary: mapping elsewhere is a personal meditation on place, migration, and identity. Through drawings of stone walls, gates, fossils, and landscapes, Mariana reflects on growing up between Winnipeg and Mexico.
The narrative follows a walk through Winnipeg where Mariana notices empty lots and posted signs, observations that become entry points for researching the Indigenous histories of both places they call home—learning about Treaty 1 and the peoples of these lands.
A central thread runs through the book about stones as records of history. Mariana writes about colonial buildings constructed over Indigenous structures—palaces built over palaces, cathedrals over temples—stones that have witnessed colonization, dispossession, and resistance across both territories.
The book concludes with a reflection on living between places: “Although my consciousness lives on one island, I fly between the nodes of what I’ve come to know as Canada and Mexico all my life.”
Before moving away from the shelf, I spot the final washi print from A volar entre rocas, this image a little different than the other six installed around the room. This one, Mariana called their Sky Print while we were installing. This print is unique from the others both in content and in how it is tucked away, and installed at 8 feet, high above. If you stand in the center of the gallery and look over the six-foot temporary wall, this print just peeks out above it.
This print features a sunset without sun: soft baby-blanket blue with wispy lines of horizontal flat clouds in dark sleepy blues, contrasts against soft fading pink where the sun sets in the distance. It has a very peaceful, sleepy quality to it.
[ Church Bells ]
Part Nine – Location F
If you’re using the dollhouse tactile map, we are moving from the shelf at location (E) to location (F) within the small alcove.
As I move left from the volcanic rock shelf, I step cautiously until I bump into small wooden cube seats positioned for watching the video. These are cane-detectable and quite lightweight, so don’t worry if you bump them, just shift them aside. The point of this alcove created by the temporary wall is to provide a small darkened space for viewing the projected video. You don’t need to walk all the way to location F, as you’d be standing against the projection surface itself and on the ground is a small bluetooth speaker playing the audio. A white rectangle has been painted on the brick-red wall to serve as the projection surface. The projector is installed high on the opposite west wall, crossing the gallery to project here. On the 2D floorplan, there is a small piece of plastic that shows the path of the projected video.
This video has a complete transcript with integrated visual description available as a separate chapter on the Yoto player and in the exhibition binder. On Wednesdays during blind-led tours by Jinny Saran, an audio-described track will play in the gallery. On Thursdays during low-sensory and silent visiting hours, the audio is turned off completely, though the video contains open captions in both English and Spanish.
The video moves between documentary footage filmed in Mexico and Mariana’s photo editing workspace. We see glimpses of urban and rural Mexico—pools, streets, views from moving vehicles—with a focus on walls, gates, and fences. Spanish narration and bilingual on-screen text accompany the footage as Mariana reflects on researching their homeland from a distance.
Near the end, Mariana edit the stone wall images in real time—blending, erasing, creating the seamless composites we’ve seen throughout the gallery.
[ Church Bells ]
With that, we conclude the described tour of A volar entre rocas. Thank you so much for joining us on this creative access audio tour! We’d love to hear your thoughts on this experience and how we can improve it. If you carried any tactile object(s) during the tour, please return it to the welcome station! We acknowledge that we cannot be everything to everyone, and respect that our creative access explorations may not serve your needs. You can reach us at access@grunt.ca or chat with any of the staff on site with any feedback you have the capacity to provide.
Thank you again.
