Informed by the politics of the border, the events that happen on it and the transnational narratives that arise after crossing it, I tackle issues of race, identity, and gender using the visual tropes of celebration. My work employs confection, industrial materials, and the American board game Candy Land as a conceptual framework to juxtapose the borderlands of the U.S. and Mexico. The spaces in the “Candy Lands” of my work relate to immigrant’s Utopian visions of the American Dream. Candy Land signifies an America filled with the possibility of happiness. The monuments and installations, built from accumulated candy, frosting, and found objects exemplify the excess associated with the American Dream. The monuments stand as living shrines to real life individuals, such as individuals who died at the border, family members who have crossed the border, in conjunction with Mexican American icons like Selena Quintanilla to further complicate the transnational narratives of Mexican Americans. My video, “Really Safe in my Room in America,” 2016, layers personal photographs with found images of the border. It complicates my position of living in America in relation to the documented violence on the border. The smell, candy, decoration, and personal photographs in my work serve as an ironic strategy that critique the glut of violence at the border and beyond.