CV & Bio

Biographical Info: Born 1991 in Miami, FL. Currently lives and works in Miami, FL.


  • 2019 MFA Candidate, Columbia University, New York, NY
  • 2013 Bachelor of fine Art, The Cooper Union Advancement in the Science and Art, New York, NY
  • 2009 Art Magnet High school diploma, Design and Architecture Senior High, Miami, FL



  • 2012 The Benjamin Menschel Fellowship Program,
  • 2009 Presidential Scholar Finalist,
  • 2009 National Foundation for the Advancements in the Arts Finalist 
  • 2009 National Foundation for the Advancements in the Arts Finalist 
  • 2009 The Russell Simmons Foundation scholarship,
  • 2006, 2009 Nominee for American Vision Scholastics, 
  • 2006, 2009 Scholastics Gold key winner in art, 
  • 2009 Scholarship winner for The Foundation for Excellence in Education



  • 2017 Fountain Head Studio Residency Program, Miami, FL
  • 2015 VCU Summer Studio Program, Richmond, VA
  • 2013-2014 Arts Letters and Numbers residency program, Averill Park, NY


Group and Solo Exhibitions:

Solo Exhibitions:

  • 2013 “Free Standing”, Senior Thesis Show, The Cooper Union, New York, NY


Group Exhibitions:

  •  2017 “Platform 450”, The Deering Estate, Miami, FL

  • 2015 “Do We Ever Really Touch”, VCU Summer Studio Program, Richmond, VA

  • 2014 “Circling Towards a Disciplinary Chora”, Arts Letters and Numbers, Averill Park, NY
  • 2013 The Menschel Fellowship Exhibition, The Cooper Union, New York, NY
  • 2010 Cooper Union Showcase, The Cooper Union, New York, NY
  • 2009 Smithsonian American Art Museum, Washington D C (Presidential Scholars)
  • 2009 “In the Studio” National Foundation for the Arts, Affirmation Arts, New York, NY
  • 2009 Rush Philanthropic Arts Foundation Russell Simmons and Danny Simmons, Miami, FL
  • 2009 Jackie Hinchey-Sipes Gallery Design District, Miami Florida 
  • 2009 Rush Arts Gallery and Resource Center in New York City's Chelsea Arts District 
  • 2009 Baryshnikov Arts Center, New York (BAC) sculptures
  • 2009 The Margulies Collection(sculptures) Wynwood Art District, Miami, FL
  • 2009 Scholastics Art Awards, Miami Art Museum, Miami Florida 
  • 2009 Tampa Bay Performing Arts Center, Tampa, Florida from the Foundation for Excellence in Education, Jeb Bush and Columba Bush  
  • 2008 Latino Art Beat, City of Miami and U.S. Department of Education in Washington D.C.
  • 2007 Scholastic Art Awards, The Miami Art Museum, Miami, FL


Priscilla Aleman has a background in fine art, having earned her bachelor's at The Cooper Union School of Art in New York.

Priscilla is interested in how our understanding of a body through death moves from its original position as a body into symbolic meaning. She is currently constructing sculptural effigies using archaeology, mythology, and history as mediums for introspection. Archaeology provides a useful structure for a humanistic investigation of the body and as a psychology for confronting the dead. The constructions allow her to investigate significant figures and symbols, their transformations, and how these transformations shape our understanding of our physiological evolution and our body’s meaning and function.

She began creating effigies to understand her most fundamental values. She considered how through relationships she assigns value and meaning, and relates to the world. Priscilla pondered things exchanged: objects, actions, thoughts. She thought about people closest to her, her own personal entities, those both historically and personally significant. She imagined “how” she would miss these people upon their deaths. By creating a sense of distance, imagining people as if already gone, and conversely imagining archaeological bodies as if familiar to her, she investigated these spaces through her relationships to each body. 

Priscilla's experience as an art handler and archaeological technician influences her work of considering the spaces that art and artifacts occupy, and the multiple stages--both as platform and process--they are seen in. She is interested in how her sculptures are read in each space, moved, categorized, and function as a developing procedure of thinking and documenting. Priscilla considers our reference points: by what system of signs are we processing, what constitutes them as signifiers, and by what laws they are linked. She thinks about language as a ‘non-space’ that enables forms to exist in any taxonomy, order, system to organize thought, meaning, and image. In the titles for each piece, she uses writing and language, like objects, as a platform for assigning and reassigning meaning.