My artwork is shaped by personal experience and the quiet exchange between my inner world and the one around me. Each project begins with sketches and research as I explore the medium that best conveys my vision. When working with photography, my process includes location scouting and the handcrafted creation of props and costumes. I primarily work with a 4x5 large-format film camera, which gives me complete control over perspective, light, and tone. Alongside photography, I also explore video and sound, drawing, painting, performance art, installation and sculpture, digital media, and most recently, AI; pushing the boundaries of visual narrative and expanding how stories can be told through art.
THE GREENHOUSE
Medium: Photography (film), video, and drawings - 14 photographs total.
Created in Iceland.
Created in Iceland.
About
The Greenhouse explores a group of women raised in a contained environment designed to cultivate the “perfect” female archetype. Like plants in a greenhouse, unpredictable outcomes emerge, and some varieties refuse to conform. One woman, in particular, begins to resist growing like the others. She feels an innate pull to break from the norm while maintaining a connection to her roots. Over time, she realizes she must shape her own truth rather than accept the mold prescribed by her community.
The Greenhouse explores a group of women raised in a contained environment designed to cultivate the “perfect” female archetype. Like plants in a greenhouse, unpredictable outcomes emerge, and some varieties refuse to conform. One woman, in particular, begins to resist growing like the others. She feels an innate pull to break from the norm while maintaining a connection to her roots. Over time, she realizes she must shape her own truth rather than accept the mold prescribed by her community.
Process
The series began through conceptual sketches and the design of the greenhouse structure itself. I sourced early 1900s Icelandic dresses for the women to wear and hand-sculpted a maquette of the greenhouse and figures as plants before photographing the work on large-format film.
The series began through conceptual sketches and the design of the greenhouse structure itself. I sourced early 1900s Icelandic dresses for the women to wear and hand-sculpted a maquette of the greenhouse and figures as plants before photographing the work on large-format film.
CUTTING THE PATTERN
Medium: Photography (4x5 large-format film), drawings, and documented process
About
Inspired by women’s sewing pattern magazines and the paper dolls I played with as a child in Cuba, Cutting the Pattern explores a woman’s strength as she both metaphorically and literally cuts through the patterns society expects her to follow; the roles she is assigned and the identities she’s told to fit into.
Inspired by women’s sewing pattern magazines and the paper dolls I played with as a child in Cuba, Cutting the Pattern explores a woman’s strength as she both metaphorically and literally cuts through the patterns society expects her to follow; the roles she is assigned and the identities she’s told to fit into.
Process
The work was handmade over five months, beginning with a series of conceptual sketches. I photographed myself in various outfits, then projected these images onto 1-inch-thick batting fabric. Each silhouette, some reaching nine feet in height, was carefully traced, hand-cut, and suspended from trees, transforming fabric and form into symbols of liberation and self-definition.
The work was handmade over five months, beginning with a series of conceptual sketches. I photographed myself in various outfits, then projected these images onto 1-inch-thick batting fabric. Each silhouette, some reaching nine feet in height, was carefully traced, hand-cut, and suspended from trees, transforming fabric and form into symbols of liberation and self-definition.
Carrying Tradition No. 1, C-Print, 30 x 40 in. Photograph taken with 4x5 large format film.
Carrying Tradition No. 2, C-Print, 50 x 40 in. Photograph taken with 4x5 large format film.
Carrying Tradition No. 3, C-Print, 30 x 40 in. Photograph taken with 4x5 large format film.
Carrying Tradition No. 4C-Print, 24 x 30 in. Photograph taken with 4x5 large format film.
CARRYING TRADITION
Medium: Photography (series of 6 images), video, and multimedia work
About
Carrying Tradition examines the deep-rooted psychological and unconscious ties to cultural norms and inherited belief systems. The series explores the hierarchies of power and gender roles that have shaped patriarchal societies for centuries, depicting women as bearers of doctrines and expectations that constrain autonomy and freedom.
Carrying Tradition examines the deep-rooted psychological and unconscious ties to cultural norms and inherited belief systems. The series explores the hierarchies of power and gender roles that have shaped patriarchal societies for centuries, depicting women as bearers of doctrines and expectations that constrain autonomy and freedom.
Process
The concept began through sketches and the design of a hand-built cart, central to the narrative. Photographs were captured from a scaffold to achieve a bird’s-eye view, emphasizing perspective and symbolism. Each shot was carefully storyboarded, with attention to composition, lighting, and camera angles. For the multimedia work, I modified the Misa Palestrina from the 16th century and combined with prayer, capturing the essence of both the original video piece and photo works in one piece.
The concept began through sketches and the design of a hand-built cart, central to the narrative. Photographs were captured from a scaffold to achieve a bird’s-eye view, emphasizing perspective and symbolism. Each shot was carefully storyboarded, with attention to composition, lighting, and camera angles. For the multimedia work, I modified the Misa Palestrina from the 16th century and combined with prayer, capturing the essence of both the original video piece and photo works in one piece.
OUTCAST
Series includes 8 photographs and a video. Selected samples, including concept sketches, are shown below.
About
Outcast explores the tension between belonging and alienation within collective identity. The work reflects on what it means to assimilate into a community that appears welcoming on the surface but resists true inclusion beneath it.
Outcast explores the tension between belonging and alienation within collective identity. The work reflects on what it means to assimilate into a community that appears welcoming on the surface but resists true inclusion beneath it.
Process
For this series, I incorporated myself into a "society of sheep", wearing a handmade sheep costume and crawling toward the flock, concealing my face beneath the wool. At first, the animals accepted me as one of them, but their behavior gradually shifted as they sensed my difference. The moment of recognition, when acceptance turned to rejection and the reality that I did not truly belong, became the emotional and conceptual core of the piece.
For this series, I incorporated myself into a "society of sheep", wearing a handmade sheep costume and crawling toward the flock, concealing my face beneath the wool. At first, the animals accepted me as one of them, but their behavior gradually shifted as they sensed my difference. The moment of recognition, when acceptance turned to rejection and the reality that I did not truly belong, became the emotional and conceptual core of the piece.
MEMORY LINE
Medium: Photography (4x5 large-format film)
About / Process
Memory Line was inspired by a dream in which I returned to the patio of my childhood home in Cuba and landed on the clothesline. I observed my grandmother sweeping, my father playing guitar, my mother and sisters, and familiar objects from my past. Gradually, these scenes began to fade, leaving me alone, suspended on the clothesline. The image captures this ephemeral sense of memory, nostalgia, and personal reflection.
Memory Line was inspired by a dream in which I returned to the patio of my childhood home in Cuba and landed on the clothesline. I observed my grandmother sweeping, my father playing guitar, my mother and sisters, and familiar objects from my past. Gradually, these scenes began to fade, leaving me alone, suspended on the clothesline. The image captures this ephemeral sense of memory, nostalgia, and personal reflection.
