ew grounds & new adventures await. Shifting a series that contemplates the search for adding to our lives. New horizons, hearts beating w/new pace ...the understanding of our lives, shifting. We travel long and assuredly, climb higher and steadier.
As women we unite in leadership, we unite in creativity and in motherhood. We are resilient, we seek peace and understanding. We strive, we seek and we never yield.
This series of work started while doing a residency program in Florida in a tiny town called Vero Beach. Isolation was key to making new work and it seems to work very well for me as an artist. When I take the time to be with my feelings and really sink my mind into what I want express through my work I create nonstop.
I wanted to also create a series of work that would build a story in more than one image but at the same time for every image to have its own weight.

A new body of work where everyday domestic objects take on symbolic significance, transforming them into channels for memory and introspection. In my video installation "Quiet as a Mouse" (2024), I play with time and sound to show a mesmerizing rain of broken plates, hinting at a chaotic yet distant past. Meanwhile, the installation "Ella no rompe ni un plato" (2024) exposes the faults and cracks of a reality that aspires for beauty through a meticulous arrangement of shattered plates combining them with a japanese tradition called Kitsugi which is a traditional Japanese art form, involves repairing broken pottery with gold leaf. The philosophy behind Kintsugi embraces flaws and imperfections, highlighting them rather than concealing them, and transforming the broken item into something even more beautiful and unique. It reflects a belief that breakage and repair are part of the history of an object, and rather than something to disguise, they should be celebrated as part of its character. This concept is often seen as a metaphor for resilience and the beauty found in embracing one’s own scars and imperfections.

In the end my work is always about introspection. I feel women go through many more obstacles
than men to prove their point or get their voices heard.
The women from cultures that have as common entertainment a Telenovela (soap opera) are seen
as perfect receptors-almost flower vases- for tons of tragedy. Being from Venezuela this happens
to be a part of my life. I have chosen images that, in an isolated way, result in a direct, excruciating,
stabbing, restless and even unpleasant experience. Together they achieve a narrative quality in which
the spectator is invited by me to take an honest trip to the visual reality that I make of my
contemporary life., my sensations and vulnerability in this world.
My work happens spontaneously. I find time to think, dream and make the work. Inspirations come
more often by living and experiencing so many things for the first time. It is my responsibility to raise
strong women with a different attitude than we as latina women were.
The search for the more intimate portraits through ropes and hand writing in nature while sometimes
placing my own body and soul in the image results in an identification of the self. As an artist I
consider the practice an introspective of oneself the key to making my work successful for myself..
A search for meaning and understanding of who and what we are through thoughts and images.
Where a reflection in the mirror can turn into desire, or a definitive shot can threaten someone; a
phrase can mean you are in the midst of change and the everyday phrases and quotes that I write
are a way to bleed out through my art. No judgements.
I am the artist making herself the art. I am recognizable to the world not as an inflatable doll, a tragic
woman or a cathodic Cinderella. I am saliva, and blood, and passion and sex and I am a woman to
be seen and heard.

Clouds are like humans. We rain, snow or hail. When it falls into the ocean or waters on the planet, that becomes a cloud again, it might be different, larger, smaller or more or less dense. But always made out of the same matter. Like your traditions, your values, your traumas and the rest of your deeply rooted you. We reassess all the time. We are constantly rebirthing a new version of ourselves. The cloud is NOT AI, its made out of paper Mache, balloons and cotton, Its a hat and her name is Penelope.

My work delves deeply into the female dilemma, encapsulating the struggles of women as they navigate societal pressures while seeking empowerment and authenticity. Drawing from historical, cinematic, and surrealist influences. blurring the lines between reality and imagination, interior and exterior, prompting viewers to contemplate the raw beauty and complexity of the female experience. Encouraging to ponder the possibilities of renewal and rebirth, urging them to confront the truths hidden within their own existence. Illuminating the transformative potential of embracing vulnerability and complexity, a poignant reflection on the ongoing journey of self-discovery and authenticity in a world marked by contradictions and concealments.

n this photograph, a veiled figure stands still on an empty beach, clutching a bouquet of bright balloons; symbols typically tied to joy, childhood, and lightness. Behind them, a colorful playground sits empty, echoing the innocence and movement of play. Yet the figure does not participate. They do not leap, laugh, or float. Instead, they remain grounded, anonymous, unmoved.
This piece confronts the expectations of joy and performance placed on bodies—particularly women’s bodies—and reclaims the right to simply be. To hold beauty, complexity, and contradiction without explanation or external validation.
The vibrant fabric, wrapped tightly around the figure, becomes both protection and declaration. It is emotion made visible—intensely present but not performative. The balloons, festive and weightless, pull in one direction, while the body chooses to stay rooted. This tension lies at the heart of the image: Can joy exist in stillness? Can celebration look like quiet defiance?
As the opening image in The Beautiful Weight of Being, it establishes the central inquiry of the series: What does it mean to choose presence in a world that demands performance?

“Coming of Age" is a photographic exploration of transformation, a deeply personal series of 5-7 large-scale dyptichs that capture the distinct yet interconnected life stages of three women-my daughters and myself. Through these images, I reflect on the universal and deeply individual experiences of growth, self-realization, and the evolving dynamics of womanhood. The work examines the tension and beauty found in these pivotal moments of life, where change is inevitable and identity is continuously being shaped.