I have been drawing and painting since childhood, nurturing a deep appreciation for Renaissance classical techniques. My photographic approach is painterly and cinematic: I start with sketches, scout locations, and handcraft props and costumes. I primarily work with a 4x5 large-format film camera which gives me full control over composition. In addition to drawing and photography, I also work with video, sound, digital media, and most recently, AI to push the boundaries of storytelling in my art.
Images Below
“THE GREENHOUSE” series includes 14 photos, a video, and drawings. Photography made with film. Selected samples, including concept sketch drawings, are shown below.
“THE GREENHOUSE” series includes 14 photos, a video, and drawings. Photography made with film. Selected samples, including concept sketch drawings, are shown below.
About:
This story series depicts a group of women raised in a contained environment designed to cultivate and nurture the perfect female archetype. Much like plants in a greenhouse, however, unpredictable outcomes emerge, and some varieties do not conform. One woman in particular resists growing like the others. She feels an innate desire to break away from the norm while maintaining a connection to her roots. Over time, she realizes she must create her own truth rather than accept the mold prescribed by her community.
This story series depicts a group of women raised in a contained environment designed to cultivate and nurture the perfect female archetype. Much like plants in a greenhouse, however, unpredictable outcomes emerge, and some varieties do not conform. One woman in particular resists growing like the others. She feels an innate desire to break away from the norm while maintaining a connection to her roots. Over time, she realizes she must create her own truth rather than accept the mold prescribed by her community.
Process:
The series was created in Iceland. I began by conceptualizing the work through drawings, including the design for constructing the greenhouse. I sourced early 1900s dresses from Iceland for the women to wear, and hand-sculpted a maquette of the greenhouse and the figures as plants.
The series was created in Iceland. I began by conceptualizing the work through drawings, including the design for constructing the greenhouse. I sourced early 1900s dresses from Iceland for the women to wear, and hand-sculpted a maquette of the greenhouse and the figures as plants.
Images Below
“CUTTING THE PATTERN” — Photograph made with a 4x5 large format camera. Concept sketch drawings and documented process shown below.
“CUTTING THE PATTERN” — Photograph made with a 4x5 large format camera. Concept sketch drawings and documented process shown below.
About:
Inspired by women’s sewing pattern magazines and the paper dolls I played with as a child in Cuba, this work depicts a woman’s strength as she metaphorically and literally cuts through the patterns society often expects women to follow or the roles they are assigned.
Inspired by women’s sewing pattern magazines and the paper dolls I played with as a child in Cuba, this work depicts a woman’s strength as she metaphorically and literally cuts through the patterns society often expects women to follow or the roles they are assigned.
Process:
The project was handmade over five months. I began by sketching the concept through drawings. Next, I photographed myself in various outfits and projected these images onto 1-inch-thick batting fabric. I carefully traced and cut the fabric into silhouettes, some as large as nine feet, which were then hung from trees.
The project was handmade over five months. I began by sketching the concept through drawings. Next, I photographed myself in various outfits and projected these images onto 1-inch-thick batting fabric. I carefully traced and cut the fabric into silhouettes, some as large as nine feet, which were then hung from trees.
Images Below
“CARRYING TRADITION” series includes 6 photos, a video, and a multimedia work. Selected samples, including concept sketches, are shown below.
“CARRYING TRADITION” series includes 6 photos, a video, and a multimedia work. Selected samples, including concept sketches, are shown below.
About:
This work reflects on the deep-rooted psychological and unconscious ties to traditional cultural norms. It explores the hierarchy of power and gender roles that have shaped patriarchal societies for centuries, with women bearing the burden of doctrines and oppressive systems that limit their autonomy and freedom.
This work reflects on the deep-rooted psychological and unconscious ties to traditional cultural norms. It explores the hierarchy of power and gender roles that have shaped patriarchal societies for centuries, with women bearing the burden of doctrines and oppressive systems that limit their autonomy and freedom.
Process:
I began by sketching the concept and designing the cart used in the work. Photographs were taken from a scaffold to achieve a bird’s eye view. Each shot was carefully storyboarded, including decisions on lighting and camera angles.
I began by sketching the concept and designing the cart used in the work. Photographs were taken from a scaffold to achieve a bird’s eye view. Each shot was carefully storyboarded, including decisions on lighting and camera angles.
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.
Images Below
“OUTCAST” series includes 8 photographs and a video. Selected samples, including concept sketches, are shown below.
“OUTCAST” series includes 8 photographs and a video. Selected samples, including concept sketches, are shown below.
Process:
The Outcast series explores the experience of entering a “society of sheep” — a world completely foreign to me. To become part of this environment, I wore a sheep costume and crawled toward the flock with my face tucked in, showing only the white wool on my back. The dynamic was fascinating: at first, the sheep seemed to accept me as one of them, but their reactions gradually shifted, revealing a growing awareness that I did not truly belong. It became clear that my presence was not fully welcomed.
The Outcast series explores the experience of entering a “society of sheep” — a world completely foreign to me. To become part of this environment, I wore a sheep costume and crawled toward the flock with my face tucked in, showing only the white wool on my back. The dynamic was fascinating: at first, the sheep seemed to accept me as one of them, but their reactions gradually shifted, revealing a growing awareness that I did not truly belong. It became clear that my presence was not fully welcomed.
Images Below
“MEMORY LINE” — Photograph made with a 4x5 large-format film camera.
“MEMORY LINE” — Photograph made with a 4x5 large-format film camera.
Process:
This image was inspired by a dream in which I flew to the patio of my childhood home in Cuba and landed on the clothesline. I could see my grandmother sweeping, my father playing guitar, my mother and sisters, and familiar objects from my past. Gradually, these scenes began to fade away, leaving me alone, suspended on the clothesline.
This image was inspired by a dream in which I flew to the patio of my childhood home in Cuba and landed on the clothesline. I could see my grandmother sweeping, my father playing guitar, my mother and sisters, and familiar objects from my past. Gradually, these scenes began to fade away, leaving me alone, suspended on the clothesline.
