Emanating from a biomorphic imaginary, my artistic practice aims to create a dystopian space inhabited by creatures from a legendary past and a distant future, in which decadence and reconstruction exist synchronously.
Taking as its point of departure animal survival strategies such as camouflage, ecdysis, and tactics of feminine seduction/protection, my works propose a chimera beyond the categorizations of genesis, gender, and habitat. Scaly, cast-off, and wounded skins sculptures are shells and protective instruments for bodies fossilizing and crystallizing other bodies in their interior.
In most recent projects, I explore glass’s aquatic and fluid quality and its inherent transparency and ability to contain other objects within their material structure.
The choice of combining glass with metal was due to their equal quality of being molded by heat and their endless possibility of addition and subtraction, turning them into “forgiving” materials. This material quality of being perpetually transformed and reused is deeply associated with ecological and feminist concerns.
In them, the fluidity of bodies and, between bodies, incorporates the mutual transference of another’s qualities.
My ongoing practice intends to think about bodies of water and the ocean as the repository of colonial history that is impossible to contain or map in the same way land can be measured. In short, it reflects on the water and its qualities of defying Western dichotomies by offering a worldview based on material fluidity, flux, and continuous change.