My work is deeply rooted in a knowledge of form and geometry, and influenced by –music, literature, and Latin American culture. I am an avid reader of art history, theory and philosophy. I have traveled and visited international art museum collections to further inform my approach to art.
Painting is at the core of my practice. Primarily based on a conceptual system, not a fixed style. I produce works in series, mostly technically elaborate oils on wood. Works are organized in sequences of -paintings, drawings, journals- built around codes of maps, letters, and numbers, like chapters in a narrative. The works on paper are in ink, charcoal and watercolors. The subjects I select connect to places and moments in my life.
I see my work as a balancing act between the Apollonian and the Dionysian, the North American and the Latin cultures, expressing lived experiences of contrasts, displacement, rupture, and fragmentation. Since the eighties, I have completed many modular paintings with changing installations and user participation, giving the works a life beyond the studio.
In the Written on Water series, exodus from Cuba and the sea were the generators of forty five mixed media works. The Alphabet series consisted of twenty-six letters and a journal. Later I produced a series of critical landscape paintings, drawings and a journal related to the iconic valley in Cuba, Viñales, an approach I repeated in the later series about the landscapes of the savannah of Bogota.
The natural world represented in symbolic and metaphoric associations, like the four elements and the cardinal points, continues being a main source of inspiration. In the Patagonia series an alphabet of gestures emerged, which is indicative of islands, water currents and organisms in motion, patterns and rhythms. I try to express the essential forces of forms in nature from the microscopic to the macroscopic. These forms are also found in the Constellation series. The recent series of acrylic and chalk paintings Tarnished Nature – Erasable Art, pointed to ecological problems of the Hudson River, the ecological issues represented were erased and redrawn by the public.
In the past ten years, I have developed an abstract vocabulary combining rigid geometrical shapes and free, gestural, strong calligraphic. Some works like the Encounter series, suggest collisions between a brushstroke and a grid, impeding flights, like invisible barriers that obstruct a woman artist’s road to success.
The emphasis of my work is on transformation and chance, prioritizing quality of form and technique. In my work, I want the viewer to experience refuge and self-reflection, and a certain harmony which I see as related to beauty, all very much needed in today’s world.