I received my early artistic training in my country of origin, Spain, and it consisted of extensive sketching and drawing. Upon moving to the US in my late teens, my focus shifted to fiber arts, and later, printmaking and digital painting / collage. In the last few years I have also become interested in papermaking both for its inherent ability to carry imagery, as well as for its textural and dimensional potential. My current body of work is comprised of a combination of those disciplines. It reflects a strong affinity for drawing, textile patterning, ornamentation, print processes, and a fiber sensibility.
Thematically, my work focuses on the interaction among the female body, advertising, and fashion, and it considers the female body as a repository of a range of cultural and psychological experiences. Fashion’s promise of an attainable beauty, and the status it grants its followers as both consumers and objects of consumption is a captivating topic. Feminist film critic Jane Gaines eloquently illustrates the close connection between fashion and women in her essay Fabricating the Female Body: “There is no distinction made between a woman and her attire. She is what she wears”. I am interested in how fashion and female display are implicated in the construction of a female identity, along with the political and social messages regarding popular perceptions of female beauty, what constitutes beauty, and the eternal and crazed search for beauty.
Recently I have also been researching the formal relationships between clothing and the female body, considering the body and the layers wrapping it – skin and garment – as a meditation on identity and self. In this manner, I regard the garment as a “second skin”, one that simultaneously hides and reveals, or alternatively a shell or carcass that echoes the body in its absence. Towards that goal, I incorporate motifs and imagery that relate to the body and garment, sometimes conceiving the two as one, intermingling both into a single organism: the body as self / the garment as self.
My visual vocabulary includes motifs that reference struggle, renewal, joy, and a fascination with beauty, biology, myth, and belief. My working method entails the physical handling of multiple visual elements or components, which can then be assembled into different combinations for what will later become a group of related pieces. This allows for experimentation and play. It is precisely via the layering of loaded icons and motifs that I impart meaning to my pieces, as their presence and interaction with each other coalesce into implied narratives in the eye of the viewer.