Cristina Lynn Acevedo is an artist who lives and breathes the vibrant, pulsating energy of New York City. Born and based in the Bronx, this Nuyorican mixed media artist and educator has been creating, evolving, and exhibiting her work in the city for over seven years. Her artistic practice, deeply rooted in personal and cultural storytelling, combines the raw intensity of drawing and painting with the tactile allure of plaster cast, collage, and creative writing.
Acevedo’s artistic journey began with an exploration of trauma and its impact on human development. Her early works utilized a variety of materials to bring to life the creature she calls La Vejiccubus. This unique figure blends the Western lore of the Succubus with the features of the Vejigante, a mythical being from Borinquen culture. La Vejiccubus, inherently feminine, embodies resilience and adaptation, living undercover among humans and evolving to survive in a complex world. These narratives, expressed through vivid and imaginative imagery, captured both the pain and the strength derived from personal and collective struggles.
Over time, Acevedo’s focus shifted to creating allegories steeped in Taino legends, Christian iconography, and mysticism. Her works now read like modern mythologies, chronicling the lives and tales of divine entities. Among her reoccurring figures are Atabey and Guabancex, representing “Mother” and “Mayhem,” whose duality underscores the tension between creation and destruction. La Vejiccubus, once a symbol of survival, now takes on the role of the “Maiden,” the appointed Cemi of humanity, forming a Holy Trinity with “Mother” and “Mayhem.” This symbolic triad speaks to the complexities of the human condition, enriched further by other archetypes such as Life and Death—star-crossed lovers inspired by Acevedo’s own experiences in long-term partnership.
Acevedo’s work resonates with those who see beyond its surface. While some may perceive her art as blasphemous due to its reinterpretation of Catholic and Christian symbols, she invites viewers to delve deeper into her narratives. “It is my Catholic upbringing that not only taught me the importance of profound storytelling, but also the deeply rooted ethics that I hold for life,” she explains. Through her art, Acevedo challenges societal norms while advocating for compassion and grace—not just for others, but for oneself.
This philosophy has been evident in her recent exhibitions. Over the past few months, Acevedo participated in several group shows at the Cannavita Gallery, curated by Ovono Agency. These showcases provided a platform for her to share her mythological narratives with a broader audience, cementing her place in the New York art scene as a storyteller who uses visual media to challenge and inspire.
“In this waking world, we are all sinners, outcasts, and fallen ones,” Acevedo reflects. “We are born this way, and so it is therefore not only our duty, but our moral obligation, to support one another in facing our shadows and demons, and provide compassion to all those who struggle through that journey. For how can we have that grace for others if we do not give grace towards ourselves?”
Through her work, Cristina Lynn Acevedo reminds us that art is not just an expression of beauty but a means of connection, healing, and self-discovery. Her reinterpretations of mythology challenge the status quo and invite us to embrace our shared humanity with empathy and courage.
Artist Q&A with OA When did you begin your jour journey as an artist, and where did it all start? I always laugh when I get this question because so many people say “it started when I was a child”, and I think that's partially true. My Grandpa Joe was the first one to take me seriously with whatever I showed interest in as a child, including my art. He wanted me to build a life from something that I love, but also something I was good at. And because of that, I always continued to draw.
It just wasn't until college that I avidly pursued Visual Arts. I originally went to major in creative writing, but then ended up in Art Therapy, and later, Art Education when I saw an artwork during an open studio walk at the college. A student there (shoutout to Amanda Hernandez from CNR) was working on her almost completed transformation piece, and it brought me to tears. Got me to change majors without hesitation, because as soon as I saw it, I knew I wanted to be a part of that world permanently. What was your main source of inspiration to pursue a career in art? It sounds cliche, but growth and healing. Between my creative writing major and my art education major, I first joined the program for art therapy. This was due to my own experiences growing up as well as my understanding of how art played a role in my life, not only in my success but also in my processing of past issues and traumas. This ability to “make the mirror” and reflect so that I could grow as a person was something I wanted to give to others and provide guidance for.
It is eventually what led me to take it a step further and join education, but even then, I did not want to lose my own space and time for creativity. I believe that children (at any age) can smell fallacy, so it would be a disservice to them to not “practice what I preach”. Additionally, making art is not just something that I do, it’s something that I need to do.
I recognize that there is a decline in me when I'm not making work versus when I regularly make work, even if it's just 10/15 minutes a day, even if it’s just twice a week. It’s almost as if the chaos of the world makes me hold onto my breath, and art is the oxygen tank to get me through that routine toxicity. Without it, I don’t have an anchor to keep me grounded, and it shows.
Which artists do you collaborate with or draw inspiration from? I draw inspiration from artists like Majorie Cameron and Seb McKinnon, and cliche enough, Frida Khalo. Cameron was an occult artist in the 40s, 50s, & 60s, who had strong line work in her surreal compositions, while McKinnon is a current long time Illustrator for the company Wizards of the Coast. He also has his own independent film in development and as a result, McKinnon uses some of the motifs within his fantasy film as illustrations for the MTG cards.
Khalo, of course, is self explanatory. To quote her;
“I used to think I was the strangest person in the world but then I thought there are so many people in the world, there must be someone just like me….Well, I hope that you are out there and you read this and know that, yes, it’s true, I’m here, and I’m just as strange as you.”
As far as collaborations go, I’m currently working with a fellow educator and published poet, David Rivas-Torres, to illustrate for his next book. An experience very reminiscent of some of Cameron’s Songs for the Witch Woman, so I’m extremely excited, and looking forward to contributing to the project. Do you have a distinct style or theme in your work? If so, how would you describe it? I would describe my style of work to be illustrative, allegorical, and inherently surreal. The themes that are displayed within my work are from my reality, but are influenced extremely by Christian text and iconography, Taino (or Arawak) legend, and contemporary spiritualism. Like many times in history, original stories and symbols have been changed or “alchemized”, so to speak, into something completely new with an identity all its own.
A great example of this can actually be found in my work with the “Maiden” deity. Her appearance actually comes from the vejigante masks of Ponce, which in their original celebrations were playful mischievous spirits meant to protect the tribe. However, that symbolism was changed after the Spanish came to Los Antilles, and made the Vejigante represent the Moors in the battle against St. James as propaganda to convince the Africans and Indigenous to convert to Christianity. Now I’m doing the same, and in doing so, I’m making an attempt to reclaim the different cultures that make up who I am.
Where can people view or purchase your artwork?
My website, www.shelivesamongusnyc.com is a great place to start, but I also answer commission requests and purchasing questions directly through Instagram, @shelivesamongusnyc. Don’t be shy, and say hi!
What are some of the most recent exhibitions or shows you’ve participated in?
I have just broken a major hiatus of showing work thanks to Ovono Art and Ovono Agency’s latest shows at Cannavita Dispensary, and previously I was involved in Ofrenda Fest, at Queens Council of the Arts, as well as IPCNY’s Printfest.
What projects are you currently working on or have planned for the near future? I don't have a significant project in store, however I am moving forward with my artistic practice by continuing my pen and ink drawings, as well as paintings, but I also am investigating digital media, photography, and performance art. My major goal with these investigations is to bridge the gap between my allegories and reality. With luck, these investigations will be involved in some of the residencies that I have applied to, such as the Governor's Island residency, for example. How can people stay updated on your latest work and follow your journey? I like to joke around and say that I am “technologically un-advanced”, because I do not have a lot of social media to follow. So if you want to stay updated, send feedback, and get to know me, the best place to go is my Instagram: @shelivesamongusnyc.