Acrylic on found photographs, newspaper, and magazine with an edition of enlarged pigment prints
In progress, 2012-present
As installed at Southern Exposure, SF (2017) and Elephant Art Space, LA (2014)
Pigment prints as installed in Fallout, with Charlie Leese, The McLoughlin Gallery, SF, 2015 (seen with selections from They Held Dances On The Graves of Those Who Died In The Terror)
Every Night I Tell Myself I Am The Cosmos, Royal Nonesuch Gallery, Oakland,2014
Fr Brandon Brown's review of Every Night I Tell Myself I Am The Cosmos, Art Practical, 2014:
The Kingdom Is Me is a large series of images almost entirely redacted by black paint, leaving only fragments (frequently, just a face) of their sources visible. Cordova’s images include magazine photos of Michael Jackson, Willie Nelson, champagne and fruit, various taxidermied animals, and Based God Lil B, suggesting both the glory of our sublime spectacular culture and also its inevitable desiccation. The effect is a little like one of the sad bulletin boards that are constructed following a disaster, filled with faces and names on oddly cut pages, along with messages of hope and desperation haphazardly tacked up by somebody who hopes the arrangement will lead to something lost being found. Beyoncé’s face (with the caption “No one has seen her”), peering out from an otherwise deleted context, is like the fragment of an ancient poem on papyrus, its predication necessarily speculative.
These works exist in the same universe as the videos, performance and music works in Echoes of A Tumbling Throne (Odas Al Fin De Los Tiempos).