My practice addresses the feminine from within its shadow. My works are -as Audre Lorde says- poetic as well as political acts, exercises of invocation that understand art as a way of reorganizing the symbolic power of things. An interweaving that arises from the reflection on Mesoamerican epistemologies and thinkers such as Gloria Anzaldúa and Silvia Rivera Cusicanqui, who understand reality not from dichotomous categories, but as complementary ways of existing, in movement; becomings that contradict each other, at the same time that they build each other: "what unites what is below with what is above and what interweaves the opposites (...) allows different people to coexist while maintaining the radicality of the difference." I began as a painter, that was the discipline where I was trained artistically, but embraces other formats and knowledge, trying to expand and question my learning and open myself to other understandings, questioning the patriarchal practice of Painting and producing new work tools. I approach artistic practice from intuition -that knowledge of the body that precedes thought organized in language- based on my own life experience. I find no distinction between art, magic and spirituality. The symbolic and dream universes are fertile ground for imagination and action, in the face of the global crisis of the present.
I am a Mexican painter. I was born in Mexico City in 1983. I studied Visual Arts at the Faculty of Arts and Design of UNAM: National Autonomous University of Mexico (2004-08). I obtained my Master's Degree in Art and Artistic Professions at SUR Escuela and Carlos III University of Madrid (2018-20), where I currently live. I won the Acciona Scholarship (Madrid, 2018), and my project "Gritos de Placer y Protesta" was selected to be exhibited at Ca Lambert Gallery (Alicante, 2016). I won first prize at the Gomez Palacio National Painting Biennial (Mexico, 2010) with “Stephanie in green”. Among my recent exhibitions are 'The wind entrusted us with things' on La Isla ZAT, (Madrid, 2021); 'Otredades, contemporary Mexican painting' at the Felipe Santiago Portrait Museum, (Edo. Mexico, 2022); 'Sorority, the other look at art in Mexico' at the Museum of Fine Arts (Edo. Mexico, 2021); 'Embroidering online', Casa d'Alpicat (Lleida, 2021); 'It seems that there are no excellent results in your search' at the Círculo de Bellas Artes (Madrid, 2020); 'Recite from the cave', School of Writers (Madrid, 2019); 'We start with a kiss' at the Chopo University Museum, (CdMx, 2017), 'UNAM Biennial of Visual Arts’ at MUCA: University Museum of Sciences and Art (CdMx, 2016); 'Evocations' Museum of Art of Querétaro (Mexico, 2016); 'Migrant Suitcases' at the New Americans Museum (USA, 2015), at Philanthropy House (Belgium, 2014), at the National Museum of Anthropology (San Salvador, 2013) and at the Museum of Memory and Tolerance, Mx (2011), among many others. I have presented my work in solo exhibitions such as the performance 'Arrojo' at Círculo de Bellas Artes (Madrid, 2020); 'The sleepers' in the Mexican Senate (CdMx, 2015); 'Inner Look' at the Museum of the People of Guanajuato and in Villa San Jacinto (Mexico, 2016); and 'The Persistence of the Feminine Image' at the University Museum of Sciences and Art, (CdMx, 2011). In addition to my artistic practice, I am also an art teacher and cultural manager. In 2014, I founded the independent artistic space Espacio Fidencia in my workshop in Mexico City. Espacio Fidencia gathered fifty emerging artists in activities such as workshops and exhibitions, throughout the next four years. In 2017 my daughter was born, bringing with her the winds of a new horizon that I explore from my artistic and teaching practice, with a committed and critical transfeminist and anti-racist pespective.
cries of pleasure and protest 2016
Cries of Pleasure and Protest is a series of small-scale paintings of women's orgasms. According to Audre Lorde, eroticism is an undeniable power of life. In Cries of Pleasure and Protest, the female orgasm is a symbolic and performative claim of the right to pleasure and the enjoyment of one's own body. It is a prayer of empowerment as well as a reflection on death. These little paintings were made in my country, Mexico, which has been drowning in its own horror for decades, between growing numbers of femicides, rapes, disappearances and torture of human bodies.
sleepers 2011
Las durmientes (the sleepers) focuses on the invisibility of the problem of gender violence in Mexico. It is about a series of life-size women, who are asleep or absent, their bodies do not respond. This series was painted in 2011, as an installation for the Brummell Gallery, in Toluca. The State of Mexico is the most violent state for women in Mexico. This series is a silent call to action; a silent cry that urges them to wake up.
dreamers 2015
This project was continued in 2015 with Los soñadores (the dreamers), that was exhibited in the lobby of the Mexican Senate. The dreamers are not only women, the restless bodies are crowds, people exhausted on the public transport or resting as best they can at their workplace. There are also nods to the sleep of the opulent people, and their lives of relaxation amidst wealth.