No More Bad Hombres is a reclamation of language. Borrowing a phrase made infamous in political rhetoric, Gaby Viteri reframes it as both cultural critique and personal reckoning. The work holds two conversations simultaneously: one about immigration and the violence embedded in language, and another about intimacy, repetition, and the pattern of choosing the wrong men.

Composed of nine glazed clay forms, the works resemble plates but refuse function. They are canvases, not vessels. Raw edges signal irreverence and irony, disrupting expectations of domestic polish and transforming the home into a site of charged reflection.

Repetition operates as meditation: phrases are repeated not only to soothe but to be memorized, with the expectation that the artist and the viewer will be changed. 

Each piece invites viewers to claim the words as their own and to initiate dialogue. Part political statement, part spiritual practice, No More Bad Hombres belongs to the larger series Choice Words, an ongoing inquiry into how language shapes identity, inheritance, and agency.