As a multidisciplinary artist, I express my ideas through diverse media, although my focus for many years has been in photography. Like a visual diary, my ideas are inspired by my own experiences, and usually begin with a drawing born from feelings and intuition. These may be imbued with symbolism or layered with multiple meanings, although I don't judge or question the imagery that arises. With a process similar to filmmaking, I direct, scout, produce, film, and edit all of my work. Mostly using a 4x5 large format film camera, I also work with drawing, video, sculpture installation and performance art. My work reflects on personal and universal themes of identity and womanhood, our relationship with nature, and the curious wonder and meaning of life and the unknown.
THE GREENHOUSE
Medium: Photography (film), video, and drawings - 14 photographs total. 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
This series began as an idea for a live performance piece, and slowly developed into a larger body of work. The greenhouse structure was hand-built, and I sourced early 1900s Icelandic dresses for the women to wear. I built the greenhouse maquette and sculpted the figurines as a prop for one of the photos in the series.
This series began as an idea for a live performance piece, and slowly developed into a larger body of work. The greenhouse structure was hand-built, and I sourced early 1900s Icelandic dresses for the women to wear. I built the greenhouse maquette and sculpted the figurines as a prop for one of the photos in the series.
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, where 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.
The work was handmade over five months, where 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.
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, and carrying this weight on your back.
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, and carrying this weight on your back.
Process
The concept began through sketches and the design of a hand-built cart. 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 photography.
The concept began through sketches and the design of a hand-built cart. 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 photography.
OUTCAST
Series includes 8 photographs and a video.
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 "community of sheep", wearing a handmade sheep costume and crawling among them, concealing my face beneath the outfit. At first, the sheep accepted me as one of them, but their behavior gradually shifted as they sensed I was different. The moment of recognition, when acceptance turned to rejection and the reality that I did not truly belong, became the core of the piece.
For this series, I incorporated myself into a "community of sheep", wearing a handmade sheep costume and crawling among them, concealing my face beneath the outfit. At first, the sheep accepted me as one of them, but their behavior gradually shifted as they sensed I was different. The moment of recognition, when acceptance turned to rejection and the reality that I did not truly belong, became the 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, all the people began to fade, leaving me alone with my momories, suspended on the clothesline.
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, all the people began to fade, leaving me alone with my momories, suspended on the clothesline.