I think of my work as a sequence of frames from a movie. There is no beginning, no end, and no specific order. They are scenes of precise moments where the material and immaterial world meet, they are dominated by a mood. The story is constructed from symbolic elements arranged arbitrarily. The characters hardly interact with each other, they simply share a moment, we could also think of them as unfoldments, but they certainly share a bond where tension, love, heartbreak, loneliness, seduction and desire are glimpsed. They inhabit carefully thought out spaces, sometimes temples, where a feeling of danger warns us that intimacy is not safe, as if what should protect us ends up leaving us even more vulnerable. In these universes East, West, the baroque and Soviet austerity coexist. These crosses show the weight of culture and a world built by men where women are often left taking care of the inside, alone and with the feeling of being trapped. The ever-present animals are beneficial entities and witnesses that keep secrets and connect all the worlds.

The feeling of not being able to control anything is reversed in the act of painting, oil is presented to me as a medium that allows me to develop a language in which I am supported by all the paintings that were made before mine. It allows me to be a link in a story where I identify myself with a tradition of female painters. Women who develop their work at the same time they nurse and feed, where dynamics coexist  to the extent where the alchemy of painting and food merge and become part of the same ritual and unfold from the same methods. The labors and crafts are present in the assembly of the frames, which work as shelters for the paintings and are sewn together with knotted threads. Each work has endless knots that for the Chinese meant the union of the naturally separated. Also in each knot, there is an intention, a prayer that is repeated in a mantric way like the beads of a rosary.