My abstract work constitutes a dialogue that translates musical structure into visual language: using rhythm, repetition, and geometry as compositional tools. Painting to music has allowed me to construct immersive visual environments where sound becomes color, movement, and symbolic form.
In my figurative series, I draw from ancient art and mythological archetypes while reimagining them through my own symbolic vocabulary. These works often center on female figures, or dancers, exploring the feminine perspective across history and celebrating empowerment through a contemporary lens. My recent projects expand this dialogue by delving further into unseen or metaphysical realms, often oscillating between abstraction and figuration to create narratives that feel both personal and in response with the events that are happening in our society.
Due to the recent attacks on immigrants, refugees and asylum seekers, I have deepened my practice focusing on themes of tango to echo the unique contributions that immigrants bring to any community they join. I use tango’s background of being a dance that emerged from the immigrant community in Buenos Aires with influences from people of European and African origins, in a fusion of rhythms, ethnicities and life stories in the early 1900’s, to draw attention to our shared humanity: our hopes, our unique identities, and how enriching a diverse society becomes when we celebrate each other. I also use the theme of tango as a concept shedding light into the challenges women face: tango has historically been male-dominated and systematically marginalizing women. My female tango figures reclaim space from the male authority and stare back at the audience, leading and empowered.
My work demonstrates my ongoing commitment to bridging disciplines, honoring cultural memory, and creating visual experiences that resonate emotionally and spiritually.
Additionally, and perhaps what defines my work thus far: I often take my practice into the public sphere as a way to challenge the dominant narratives that exclude underrepresented, minority artists. I do so to create awareness and to expand my experience as an artist embracing the general public while giving back to the city I love. When I do, I take up space to share my process, my vision and my work.
When I paint in the public space, the street becomes my studio as well as a gallery. In so doing, I challenge the ideology of conflating context with value, and I ask the public to reconsider.
I use my work in public as an active statement challenging the ‘status quo’ of the art world. I prioritize human connection over the solitary journey of a traditional studio, and I believe all interactions influence my work. The street, the colors, the sounds that surround me as I paint, all seem to visually materialize on my canvases.
On intimacy: to me it means my relationship with the canvas. I can access it anywhere, I access it or renounce it as needed. I do also enjoy painting in the privacy of a studio, but I believe that art belongs in the urban public space. The process of legitimizing art and culture deepens when we take the conversation to the public realm.