Talking Sticks, Collages, Quilts & More: Artist Amber Robles-Gordon Explores the Notion of “Healing Forward” at CFAC

Currently on display at The Community Folk Art Center, “Healing Forward: Rituals of Self-Repair, Cultivation of Community, and Collective Action,” is a deep dive into a decade of works by Amber Robles-Gordon, a Puerto Rican and Caribbean interdisciplinary artist. 

The show is complex, visually dynamic, and large, spanning the walls of two rooms at CFAC. Its portfolio includes expansive quilts, mixed-media assemblages on fabric, collages, embroidered circular hoops, and a variety of other elements. 

Photographs, text, layers of rich color and talking sticks are integrated into several of the works. Talking sticks are a tool of democracy in indigenous cultures, particularly in the Pacific Northwest. At community meetings, a talking stick is passed from person to person, ensuring that everyone has a chance to speak freely and be heard.

La traza de mis reinos ancestrales, mis flores y los dominios dentro

Robles-Gordon fully investigates and discusses the notion of healing. For her, healing is active, not passive; it is ongoing, not short-term; it is comprehensive, not linear. According to the exhibit’s catalogue, she views healing as personal, communal, spiritual and ecological. 

Her work interrogates historical trauma rooted in colonialism, the current-day distribution of land and wealth and its impact on marginalized groups, as well as the need to confront economic disparities. Several works speak to repair and reparations, delving into questions of who has access to resources, citizenship and sovereignty. 

Among other things, the show documents the artist’s creation of a distinctive visual idiom. For example, a mixed-media canvas creation, “Soy Luz, Amor y Frequencia (I am Light, Love and Frequency),” encompasses imagery of youth, a woman and flowers. The canvas is filled with multiple patterns, vertical streams of rectangles and squares in dark, white, and green, as well as bands of orange and red color. 

In another piece, an embroidered hoop hangs in the air and is decorated with images of cows, farmers, people laboring in fields and a woman presenting the fruits of harvest. The hoop is in front of a quilted background with green, blue, red and orange coloration. At its center is a globe encircled by an outer ring, with mixed-media collages appearing to the left and right of it. 

Despertando lo Matrilineal, Llamando a Todas las Direcciones Y la Gimnasia Matemaětica de la Morenitud y la Negritud

There’s also the artwork titled “Mitigacion of Racism (Mitigation of Racism) ” which encompasses mixed-media collages, a mixed-media assemblage on wooden panels, and a good deal of text. 

Robles-Gordon’s other piece, “Prison Labor, Prison Slavery” refers to the contemporary practice of requiring prison inmates to work while paying them below minimum-wage standards. And “Don’t Like Looting; You’ll Love the British Museum” references the numerous artworks that were taken from African nations during the colonial era and ended up in the collections of British and other European museums. 

In addition, there are graphic illustrations portraying vessels used in the trans-Atlantic slave trade. They are situated next to the logos of major companies still operating today who benefited from the subjugation of millions of Africans. 

Yo (nosotros) creamos naciones

“Yo, Tu, Nosotros Creamos Naciones a Traves del Amor, La Verdad y La Flexion (I, You, We Create Nations through Love, Truth and Reflection),” meanwhile, is huge, positioned over an  entire wall and even spills over onto the floor.

It has mixed-media forms at its center, circular shapes, stripes, photographs of a woman in a greenhouse surrounded by plants, and a range of brightly-colored talking sticks. 

Some of the wooden sticks are painted while others are covered with vibrant fabrics and other materials. And, like other artworks in the show, there’s lots going on around a central section. To the left, a doll is placed not far from an image  of elephants. To the right, images of zebras accompany another doll. Tiles and other objects are lined up along the floor. 

Administracioìn divina de la tierra, el cuerpo y la mente Divine stewardship of land, body and mind

The show has other interesting artworks on display. Don’t miss “The Temples of My Familiars: Anointed and Deserving,” a mixed-media collage on canvas. 

While the collection is extensive, it isn’t intended to display all of the works created by Robles-Gordon. She’s created large-scale sculptures and several murals, one of which is “The Ties That Bind,” a project telling the story of Henrietta Lacks, who received medical services at a Johns Hopkins facility in 1951. Cancer cells were extracted from her body, only to be used for research and commercial development. Neither she nor her heirs were informed or compensated. Robles-Gordon’s mural was created at Salisbury University in Maryland. 

Based in Washington, D.C., Robles-Gordon also created a mural at the Anacostia Community Museum in Washington. It focused on ancestors, community and culture. 

Finally, she’s taken part in many exhibitions over the years. Her work has been shown in museums and galleries across the United States and abroad, in Canada, Spain, Germany and other nations. 

Restos (remnants)

Restos (remnants)

“Healing Forward” is on display through April 30, 2026 at the Community Folk Art Center, 805 E. Genesee St. The center is open from 10 a.m. to 4 p.m. Tuesdays, Wednesdays, Thursdays and Fridays and on Saturdays from 11:00 a.m. to 3:00 p.m. Admission is free, and the public is welcome. 

The center has scheduled several events in conjunction with the exhibit. On Friday, March 20, 2026, starting at 6:30 p.m., Amber Robles-Gordon will give an artist’s talk. On Saturday, March 21, starting at noon, she will lead a community art workshop on creating talking sticks with all arts materials provided. Again, there’s no charge to attend either event. 

For more information, call the center at 315-442-2230 or visit communityfolkartcenter.org.

About the Author 

Carl Mellor covered visual arts for the Syracuse New Times from 1994 through 2019. He writes reviews and artist profiles for CNY Arts as a community partner. 

Amber Robles-Gordon: sus raíces y herencia vistas a través del arte

Por Periódico El Adoquín/Publicado 17/05/2023 a las 4:59 pm/Actualizado 02/11/2023 a las 5:09 pm/7 min lectura

La artista nacida en San Juan y criada desde pequeña en Arlington Virginia, Amber Robles-Gordon, está presentando la primera exposición individual en línea, Place of Breath and Birth, en la Galería de Arte de la Universidad del Sagrado Corazón, en Santurce.

Su trabajo artístico representa un retrato de sus recuerdos de niña. Según nos cuenta en entrevista, este momento en la vida de la artista fue muy complejo, no solamente por encontrarse en un nuevo lugar a temprana edad, con una cultura e idioma totalmente diferente a la de San Juan, pero además por el discrimen que la recibió en aquel entonces. Esta exposición es dedicada a esa parte de su vida y su afán por recuperar su herencia.

Desde muy niña,a Amber Robles-Gordon su mamá le enseñó la importancia de apreciar y valorar el arte y las expresiones culturales. Recuerda cuando iba al Instituto Smithsonian a ver importantes piezas, en especial le llamaba la atención las de impresionismo. La artista se acuerda hasta de su primera maestra de arte que le enseñó cómo crear un collage, al lograrlo, se sintió muy orgullosa. Luego, se dio cuenta de su talento y decidió dedicarse como artista.

A preguntas del discrimen que tuvo que experimentar desde su llegada a Estados Unidos, Amber Robles-Gordon nos cuenta que: “Por ejemplo, no puedo recordar lo que realmente se me estaba diciendo. Solo recuerdo esa sensación de que no quería que continuara por lo que no quise hablar más el español. Yo de cinco años no sabía cómo hacer que se detuviera [el discrimen]. Pensé que se basaba en el idioma que estaba hablando y ellos no entendían por qué lo estaba hablando. A los cinco años tomé la decisión y pensé que, si dejaba de hablarlo, tal vez la gente no se burlaría”, expresó Amber Robles-Gordon.

La artista añadió que los latinos también “somos personas de color”, por lo que hay que tomar decisiones sobre quiénes somos en la sociedad y cómo reclamamos nuestro espacio e interactuamos con los demás.

“Creo que todos nosotros hemos tenido que tomar una decisión en algún momento u otro sobre cómo nos representamos y cómo representamos nuestra cultura. Es solo que no sabía que la decisión que tome a los cinco años iba a ser tan duradera y algo tan serio en mi vida. En aquel momento sentía que, si no era mi idioma, iba a ser otra cosa… tenía que negociar para que fuera aceptada. No te das cuenta de que, acomodando la forma de pensar de otras personas, se va acumulando un sentimiento. Luego me di cuenta de que, como mujer negra, debía reclamar mi postura”, indicó la artista, quien explicó que precisamente esta exposición la utiliza para empoderar a aquella niña de cinco años de aquel entonces.

Cómo surge esta exposición Place of Breath and Birth

Amber Robles-Gordon expresó que siempre quiso regresar a Puerto Rico, obtener nuevamente su idioma y reencontrarse con familiares y seres queridos en la Isla. La primera vez que intentó retomar el español fue terminando su posgrado cuando tuvo la opción de elegir estudiar otro idioma, pero en ese momento su hijo fue diagnosticado con pérdida auditiva, por lo que tuvo que tomar una decisión: ¿español o lenguaje de señas en inglés?, y como ella misma expresó: “decidí poner a mi hijo primero”.

Una vez su hijo ya estaba más grande, la artista tomó nuevamente la decisión de regresar a la Isla y sanar esa parte de ella. Durante aquel momento, hace contacto con Edwin Velázquez Collazo, ya que él incluía su trabajo de diferentes maneras en su blog Puerto Rico Art News. “Así que alrededor de unos años antes del 2019, me encontré con alguien que estaba valorando mi trabajo, así que tuve una conversación con él [Velázquez Collazo] agradeciéndole. Hablando con él investigué de cómo regresar a Puerto Rico, para encontrar esos pedazos de mí que había escondido de niña”, señaló la artista. Velázquez Collazo le recomendó entonces que contactara a la Universidad del Sagrado Corazón y les presentara una propuesta.

Tendedero Comunidad y Energía Eterna 18 x 24 2020

Por razones de la reciente pandemia la Galería tuvo que cerrar y convertirse en una virtual, Amber Robles Gordon decidió venir a la Isla, donde estuvo alrededor de tres meses. A pesar de que estaba planeando estar más tiempo, no pudo hacerlo ya que Puerto Rico estaba ajustando más las reglas de precaución y la artista tenía compromisos también en Estados Unidos, por lo que tuvo que regresar. A pesar de esto, aclara que cada pieza de esta exhibición la comenzó en Puerto Rico para terminarlas luego desde Washington DC.

Amber Robles disfruta mucho los colores y trabajar con diferentes texturas, principalmente en telas. Como parte del análisis y el estudio que realiza para sus obras de arte, hace dibujos o “sketches”. Precisamente, durante el viaje que realizó con su madre en la Isla, se dijo que iba a hacer dibujos a través de todo el viaje, todos los días. “Así que con estos dibujos me di cuenta que estaba haciendo la parte abstracta de Fiscus Elástica, nombre que le da a la parte central en las piezas de la muestra. A pesar de que no me gusta la naturaleza, porque no me gustan los mosquitos, si me gustan mucho sus colores, cómo las plantas nos cuidan y la relación que tenemos con ellas”, señaló.

Cuando llegó al campus de la Universidad del Sagrado Corazón, observó que los árboles tenían sus nombres, viendo una relación de algún tipo, hasta familiar. “Vi la representación de las raíces, lo que era como una versión familiar y de comunidad de la naturaleza y lo que significa eso para mí. Yo no me di cuenta de lo conmovida que estaba (en ese momento) con los árboles”.

Botánica del Amor, Autoreflexión y Espiritualidad 18 x 24 2020

“Cuando ves las obras y los colores de esta colección; por ejemplo, el verde menta se encuentra en todas las piezas. Cuando estuve en Puerto Rico fue un color que utilizaba mucho para decorar, por lo que quise utilizarlo en todas las piezas. Decidí utilizar los sketches que tenía como base, y terminaron convirtiéndose en una de las capas más importantes del trabajo”, añadió.

A preguntas de este medio de cómo se sintió al terminar esta serie, expresó: “Definitivamente hay un sentimiento de orgullo al terminar la serie. Esta fue la primera que hice específicamente de algo tan importante para mí como lo es mi herencia”.

Detrás de la elaboración de cada trabajo, ciertamente hay un elemento de la expresión de emociones. Durante esto, sintió que estaba como en una excavación, porque “estaba aprendiendo sobre muchas cosas que no sabía cómo decirlas o presentarlas. Era como si estuviera pelando o dejando ver las diferentes capas de mi personalidad”, expresó Amber Robles-Gordon.

Su trabajo incluye esculturas, pero muy diferentes quizás a lo que uno está acostumbrado, muchas de ellas están creadas con telas de colores. Sus trabajos escultóricos tienen que ver mucho con la cultura afrodescendiente.

Disfruta hacer el trabajo a gran escala. A pesar de que considera que ha sido afortunada de haber hecho arte por tanto tiempo, entiende que hay ciclos, por lo que cuando se le comisiona una pieza, ya ella tiene pensado los materiales, ha escogido telas y empieza a armar esa pieza basado en lo que ha coleccionado. Va apartando los materiales para próximas piezas, pues se convierte todo en un ciclo para la artista.

Lo más reciente…

En la actualidad, la artista Amber Robles-Gordon está trabajando en un proyecto junto a Semilla Cultural, organización en la que están realizando un proyecto donde tiene que aprender el baile de bomba. Para éste, ha reunido un grupo de mujeres, entre ellas su madre, junto a la maestra Isha Renta.

Por otra parte en International Arts and Artists at Hillyer, en Washington DC, presenta la exhibición Remnants: a visual journey of memory and renewal en la que exhibe la pieza Soy luz, amor y frecuencia hasta el 28 de mayo.

Adicional, este sábado 20 de mayo a las 2:00 p.m. tendrá un conversatorio con George Hemphill, renombrado galerista en Washington DC, en la que hablarán sobre los fundamentos de su obra de arte actual, los hilos que la conectan con la Escuela de Color de Washington y un amor y aprecio inquebrantables por la obra de arte de Alma Thomas.

Hasta hace poco, mostró su obra en la exposición “Trenzando Identidades” en el Museo Casa Escuté de Carolina, junto a 30 artistas destacadas y emergentes afro-puertorriqueñas y en la que abordaron asuntos de raza, género e identidad en los medios de la fotografía, pintura, dibujo, arte digital, collage y el grabado.

Para más información, visite https://www.amberroblesgordon.com/

Spectrumatic Beacon, Commissioned Public Artwork, Textile on Chicken Wire, 2018

https://eladoquintimes.com/2023/05/17/amber-robles-gordon-sus-raices-y-herencia-vistas-a-traves-del-arte/

Amber Robles-Gordon’s anti-colonial quilts and personal histories at American University Museum at the Katzen Center

“y mi bandera vuela mas alto que la tuya,” 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

By Andrea KirshDecember 17, 2021

An artist’s visit to her mother’s birth place in Puerto Rico awakens her to the complexities of immigration and family – and to the dubious socio-political actions and inactions, by the U.S. government in its far-flung territories. Our reviewer Andrea Kirsh is moved by the powerful collage works and double-sided quilts of Amber Robles-Gordon. The show closed Dec. 12.

Amber Robles-Gordon‘s first grade classmates in Arlington, VA bullied her for speaking Spanish, so she learned to speak to her mother in English. It wouldn’t be until middle age that the artist finally visited her mother’s birthplace in Puerto Rico. Successions: Traversing U.S. Colonialism, her solo exhibition at the the American University Museum at the Katzen Center (August 28 – Dec. 12, 2021) in Washington, D.C. was the product of that initial trip and a her return for a six-week residence on the island in 2020.

The exhibition presented two bodies of work. The first, “Place of Breath and Birth” is a series of ten vibrant collages on canvas, all 18 x 24 inches; two, represented by full-scale pigment prints. The collages are constructed from masses of tiny images cut from paper; even the bands of color that form their backgrounds are assembled from minute, colored fragments. And there is a very personal rhythm – like distinctive brushwork – in the way Robles-Gordon arranges the fragments.

Another personal language of Robles-Gordon’s appearing in the fragments is inspired by multiple, non-Western cultural traditions and imagery taken from magazines and photographs. These fragments are used as structuring and framing elements, incorporating the artist’s drawings of detailed and decorative, spiky, geometric patterns. An occasional small trinket or charm adds surface texture, as does the profusion of tiny, sparkly beads which outline the central, circular forms on each collage. The beads and high-keyed colors capture the intense sunlight of the Caribbean and lend a festival-like quality to the series.

Robles-Gordon culls her imagery from photographs she took in Puerto Rico or found elsewhere that evoke its lush, intensely-polychromed environment – both natural and human. While on the island, she was fascinated by the rubber trees and palms, the coconuts and mangos, street murals and public art. The titles of individual collages suggest the range of topics that were prompted by her visits: “Observation of Influencers: Taino culture and heritage, the climate and machismo,” “For bioluminescent bays and turtles.”

Her long-time interest in spirituality and syncretic, New World religious practices inspire aspects of the collages’ format, which the artist likens to personal altars. The imagery of fruit and floral offerings, flickering candles and the crystalline forms of her drawing run throughout the series and reinforce their spiritual associations. She includes photos of herself – both earlier and contemporary images – in several collages, and there is no question that the series itself is a diary of self-discovery.

“Reflexiones sobre el yo, la virgen maría y el colonialismo,” 2020. Mixed media, collage on canvas, 18 x 24 in. Courtesy of the artist.

Quilts of pointed anti-colonial critique

If the collages capture Robles-Gordon’s connection to her ancestral culture in the form of personal, spiritual reflection, the second part of the exhibition responded to her developing political understanding of Puerto Rico’s position as a U.S. Territory. The works are a public forum in which to teach, to encourage discussion, to heal, and to begin building a congregation of territorial residents. Six, large, double sided, appliqued quilts hung throughout the high-ceilinged gallery. The installation, which gave its name to the exhibition, was titled “Successions; Traversing U.S. Colonialism.” The quilts include dense references to histories that have yet to be acknowledged and the dark underside of U.S. power. Their format entangles the conventionalized emblems of history and patriotism with the domestic craft of quilting, the masculine pursuit of territory and power with a feminine tradition of healing.

On one side of each quilt Robles-Gordon addresses political history, with references to each of the U.S. Territory’s flag or seal, as well as to the exploitation of its indigenous people for medical experimentation, military support and economic interests; on the other side she constructs an altar dedicated to healing the damage of historical exploitation and the racism which underpins it. Both sides bear central medallions; they are greatly enlarged versions of the circles in the collages, and make references to the circle as a foundational religious image and form of celebration – to healing circles and ceremonial dancing. The healing altars are constructed with the same spiky, geometric patterning that Robles-Gordon used in the collages, and all have hieratic, symmetrical designs. Here they suggest abstracted figures of deities, and their patterning makes reference to a variety of Afro-diasporic and non-Western decorative histories seen in painting, textiles and ceramics. Although painted, they appear to be drawings in chalk on black backgrounds, which suggests religious images in various cultures which are intended to be temporary.

The timing of Robles-Gordon’s residency in Puerto Rico reinforced her understanding of the disparity between U.S. government support to the island after the overwhelming damage from Hurricanes Maria and Irma in 2017, and the level of disaster relief Americans have come to expect on the mainland. This understanding, in turn, led to her interest in the U.S. Territories as a group; areas under United States dominion with the highest percentage of poverty, where the government has exploited resources and sited strategic military bases, with little concern for the inhabitants – all people of color, who are largely, only nominally U.S. Citizens. The territories function, rather, as U.S. colonies.

Puerto Rico, Guam, American Samoa, the Virgin Islands, and the Northern Mariana Islands are unfamiliar to many on the mainland United States. Few Americans know that their residents are U.S. Citizens with the right to vote – although they lack full representation in Congress. Robles-Gordon included Washington, D.C., her current home, among the territories because it’s residents, too, fall under U.S. jurisdiction but have no fully-empowered Congressional representative.

Robles-Gordon used her childhood bullying as a spur to understanding her own cultural traditions, and it is characteristic of her long-developed career of teaching and producing art that she didn’t respond to the history of territorial exploitation with rage, but with honesty, offering understanding, teaching and healing as a foundation on which to advocate for social justice in the outlying regions of the United States and in powerless communities internationally. The sense of spirituality and turning towards a better future pervades her work as much as her personally-developed language of forms and patterns, use of repurposed materials, passionate polychrome, and fusion of visual traditions.

Amber Robles-Gordon, “Successions: Traversing U.S. Colonialism” is now closed. It was on view at the American University Museum at the Katzen Center in Washington, D.C., August 28–December 12, 2021.

“The eternal altar for the women forsaken and souls relinquished. Yet the choice must always remain hers/ El altar eterno de las mujeres abandonadas y las almas renunciadas. Sin embargo, la elección siempre debe ser de ella.,” 2020. Mixed media collage on canvas, 18 x 24 in. Courtesy of the artist.

“Successions: Traversing U.S. Colonialism” on Exhibit at American University Museum

“USVI Spiritual, Moko Jumbie: Walk Tall and Heal Forward” Mixed Media on quilt, (back of “USVI Political”) 2021 (Courtesy of Amber Robles-Gordon)

Amber Robles-Gordon’s “Successions: Traversing U.S. Colonialism” has a dual purpose. It consists of her “Place of Birth and Breath” solo exhibit viewed first in her native Puerto Rico in 2020, and it has evolved into a component exhibit, which is an exploration of the historical underpinnings of U.S. Colonialism.

Robles-Gordon is a mixed media visual artist whose solo exhibit at the American University Museum opened in August and can be viewed Fridays through Sundays, from 1 p.m. to 4 p.m. until Dec. 12.

What began as a quest, “to heal my five-year-old self: to empower her to fight for herself, her language and her culture,” the exhibition took on “the intersections of language, culture, institutional racism, anti-blackness and their immeasurable impact within the U.S. territories,” said Robles-Gordon.

A native-born Puerto Rican with family from St. Thomas, St. John, Puerto Rico, Tortola and Antigua, Robles-Gordon created a visual discussion of the historical and political plight and resilience of the District of Columbia, where she resides, and the five U.S. territories that her two-sided quilts represent. They embody the artist’s creation of a political study of the territories and on the reverse side, a spiritual and cultural study.

Robles-Gordon’s early love of art and creativity moved her delight with fabrics, quilts and found objects to the discovery that these could and would be her artistic narrative.

A writer uses words to express; my medium of expression is my art, she said. “I use a myriad of materials according to what I’m trying to convey in a particular project or a particular narrative. It’s very essential that I match up with what I’m trying to convey,” Robles-Gorden said.

The decision to dismiss her native language, Spanish, came as a result of the teasing and ridicule Robles-Gordon experienced as a five-year-old kindergartener at her school in Arlington, Virginia, far away from her birthplace of Puerto Rico. She did not look like a Latina girl that was familiar to her classmates, and hence developed the bullying of this little brown-skinned girl.

In time, Robles-Gordon realized the importance of embracing her language and her culture and the need to find ways to heal through her research and employ it through her art as the medium on her journey to healing.

Speaking of her years as an artist, Robles-Gordon’s journey toward healing is what she brings creatively in her discoveries about U.S. Colonialism, “I think that it’s a beginning. There’s not an end to my journey. It’s a part of my journey. I think I’ve done a hell of a job in starting it. I actually feel proud about it in my own life. That feels good,” she said.

Robles-Gordon made the universe know how important this part of her journey is. “I think I’ve done that,” she said.

“Successions: Traversing U.S. Colonialism” exhibits the component of Robles-Gordon’s body of work containing six quilts embodying the Commonwealth of the District of Columbia, and the five U.S. territories of Guam, the U.S. Virgin Islands, Puerto Rico, the Northern Mariana Islands and American Samoa. The other component, “Place of Birth and Breath,” is the collage on canvas series created in 2020 and exhibited at the Universidad del Sagrado Corazon, (University of the Sacred Heart) in Puerto Rico.

“Place of Birth and Breath” is Robles-Gordon’s 10 mixed-media collage canvases that are a result of the visit with her mother to Puerto Rico where both women recaptured their roots, one of her childhood home, and the other of her birthplace.

“Isla del Encanto” collage, 18×24, 2020. (Courtesy of Amber Robles-Gordon)

A foundational symbology of the “Birth and Breath” body of work is the rubber tree that grows on the campus of the University of the Sacred Heart, which Robles-Gordon was introduced to while in Puerto Rico. “This tree appeared to be a literal fusion of past, present and future states of creation or sustaining an ecosystem. Throughout the series, are abstracted representations of the rubber tree – an entanglement of strong roots – as an example of its resiliency this tree most recently stood-fast to its native soil while 155 mph winds battered the campus,” Robles-Gordon noted.

Robles-Gordon shares her intricate ideas of how she layered her work depicting and interpreting the transitions of day to night and night to day. She relates to three major ethnic/racial groups – the Taino, the Spaniards and Africans, the stranglehold of the United States and the impact of the Caribbean Sea with its threat of hurricanes, scorching summer heat and lush landscapes.

Successions: Traversing U.S. Colonialism at American University exhibition closes on Dec. 12. The journey continues. The conversation continues. The healing continues.

See Amber Robles-Gordon’s website here..