Watercolor on paper, cut-out images, and other elements. 22" x 30" - 2022. In a world rife with discourse surrounding the perennial 'war of the sexes,' my artistic practice seeks to unearth the intricate layers of this multifaceted debate. The dichotomy between the 'weaker sex' and the 'stronger sex' has long fueled countless discussions, each presenting its own version of the narrative. Yet, as a society, we stand at a precipice where the collective consciousness begins to unravel this constructed web of gender norms and expectations. It is an awakening that beckons us to recognize that while biological differences undoubtedly exist within the majority of our population, sexual identity, and gender, in essence, are constructs artfully woven by the powerful to perpetuate their own dominion. Within this framework, the so-called 'war of the sexes' emerges as a calculated byproduct of these constructed notions. It is a tool that has been wielded for centuries to maintain the status quo, an illusion that serves to divide rather than unite. My creative work emerges as a vessel for denouncing the inherent falsity of this war, a testament to the urgent need for society to confront and dismantle the deeply ingrained prejudices and hierarchies.
Watercolor on paper, cut-out images, and other elements. 22" x 30" - 2022. As a NYC based artist,I explore the blend of public and private life, re-imagining urban existence. Public spaces buzz with a unique energy, blurring traditional boundaries. I'm inspired by the voyeuristic essence of city life, where mundane moments reveal hidden depths. Through art, I transcend observer and observed, revealing the city's pulsating rhythm. Join me in uncovering NYC's enigmatic stories, whispered confidences, and unspoken connections." (
Watercolor/Collage on watercolor paper. 22x30" 2025. At a time when I desperately need to think about love, peace and a better tomorrow, history is perhaps a refuge, if not to learn from it, to know that we are capable as a species of creating beautiful things. Just completed my latest piece, "Capriccio," a watercolor/mixed media/collage that delves into the timeless quest for love and the profound impact of words from Cicero to Petrarch to Boccaccio. Inspired by the building I see from my Manhattan studio, I envisioned Laura, Petrarch's romantic muse, as a medieval Madonna. Her beauty floods the green and gold room visible through the large window, creating a captivating scene. This artwork is my today tribute to the enduring power of love and language
Watercolor/Collage on watercolor paper. 22x30" 2025. In the heart of an enchanted forest, I painted a majestic tree, its branches adorned with golden and white leaves that shimmer in the sunlight. This tree, ancient and wise, serves as the centerpiece of a realm where joy and harmony reign supreme. The leaves, kissed by the light, create a canopy that glows with an ethereal radiance, casting a warm and welcoming glow over the entire scene. Nestled among the branches, I placed two birdhouses, each with an open door that invites all who seek refuge. These birdhouses are not ordinary; they are homes to male figurines dressed in delicate tulle dresses, symbolizing the freedom and fluidity of identity in this magical place. The figurines, with serene expressions, embody the essence of happiness and acceptance, their attire a testament to the boundless possibilities of self-expression.
Watercolor/Collage 22" x 30", 2023. As an artist, I am fascinated by the interplay between public and private spaces in a bustling city like New York. In "Urban Intimacies," I explore this dynamic through a watercolor and collage representation of a NYC building facade. The piece features bricks, windows, and AC units, with glimpses into the lives of the inhabitants through the windows. Each character is absorbed in their daily routines, unaware of being observed by the outside world. This artwork invites viewers to reflect on the invisible boundaries that separate our public personas from our private lives, and how these boundaries blur in the urban landscape. Through this piece, I aim to capture the essence of city life and the intimate moments that often go unnoticed.
WI painted this mixed media watercolor a few months ago, at that time I envisioned two windows, each reflecting the other as part of the building's facade, marked by the letters S and N—south and north. These directions, once vital for explorers and sailors, now help us navigate reality. Inside each window, scenes unfold in two dimensions, with people seemingly unaware of the voyeuristic gaze upon them. North and south are cultural constructs, ripe for reinterpretation and new symbols. What truly transpires within these spaces is a mystery for the viewer to unravel. Are we at a time to create new symbols to understand reality and where we.are in this changing times? - watercolor on paper 22x30", 2024.atercolor/ Mixed media Collage. 22"x30" 2024.
( watercolor/mixed media/collage - 22 x 30 inches each - 2025) In this body of work, I approach Dante's Divine Comedy not as a distant medieval text, but as a living map of human experience. Through my interpretations of Inferno and Purgatorio, I explore states of loss, desire, fear, transformation, and self-discovery that continue to shape our lives today. As we navigate an age defined by technological acceleration, uncertainty, and shifting notions of identity and truth, Dante's journey offers a powerful lens through which to examine the contemporary condition. Inferno becomes a reflection of the psychological and social traps of our time, while Purgatorio points toward the difficult process of renewal and growth. This work considers Dante's vision as an enduring investigation of what it means to be human, inviting reflection on our own passage through crisis, change, and the search for meaning.
In this body of work, I approach Dante's Divine Comedy not as a distant medieval text, but as a living map of human experience. Through my interpretations of Inferno and Purgatorio, I explore states of loss, desire, fear, transformation, and self-discovery that continue to shape our lives today. As we navigate an age defined by technological acceleration, uncertainty, and shifting notions of identity and truth, Dante's journey offers a powerful lens through which to examine the contemporary condition. Inferno becomes a reflection of the psychological and social traps of our time, while Purgatorio points toward the difficult process of renewal and growth. This work considers Dante's vision as an enduring investigation of what it means to be human, inviting reflection on our own passage through crisis, change, and the search for meaning.
(watercolor/mixed media/collage - 22 x 30 inches each - 2025)is the final chapter of my contemporary interpretation of Dante’s Divine Comedy. Through watercolor, mixed media, and collage, the series reflects on transcendence, inner illumination, and the possibility of spiritual wholeness amid the complexities of our rapidly changing world.
Extremely honored to be part of "Permissions" with this installation. Organized by the 2019/20 SHIFT Residents with guest curator Maya Suess On View: November 18, 2020 – January 9, 2021 Artists: Hernease Davis, Asha Ganpat, Guido Garaycochea, Joy Garnett, Gi (Ginny) Huo, Jordan Lord, Shona Masarin-Hurst, and Monika Wuhrer Putting the spectator in a space that speaks of power, heteronormativity, dissonance, disidentification, disobedience, and identity. This is the recreation of an interior space loaded with symbols in itself. The eleven works shown in this space have been elaborated during the Shift Residency experience, a great opportunity for which I am not only honored but very grateful to have shared with talented artists. Photo credit: Yann Chashanovski / EFA Project Space / SHIFT Residency
This video is part of a series of experimental videos, product of my interaction with women after their incarceration. They are part of a work done during more than five years of follow-up. For privacy reasons I do not give more details and of that body of work, I have only decided to publish this video because I consider that it shows a layer of my work little shown by myself.
This is my first approach to a more complex project which is to bring my work to life on different platforms and use more complex languages. Incorporating relative movement into my 2D works and adding sound to them expands their power, I think. This subseries that I have called "The little house" always citing dollhouses as an analogy to the power that conditions and dominates our behaviors and how we perform or feel in our lives, is part of the series the Pink Room that encompasses various techniques on paper and on canvas. Enjoy!
https://www.youtube.com/watch?v=Ep2hGhDluvgSimone (2023, 11 min.) I met Simone more than eleven years ago as a coworker. Over time, I came to know him as an artist whose life and work are shaped by resilience, creativity, and deep sensitivity. Black, transgender, and living with chronic health conditions that have often required long hospital stays, Simone embodies many of the realities experienced by those who remain unseen or overlooked in America. Working primarily with recycled and found materials, his artistic practice emerges from what is close at hand, transforming everyday objects into expressions of identity, memory, and survival. Beyond his art, Simone is a gentle soul, known for his kindness toward animals and the people around him. This interview offers an intimate portrait of his journey through discovery, art, hardship, and self-definition. Rather than presenting a story of triumph or redemption, the film embraces Simone as he is—complex, vulnerable, thoughtful, and profoundly creative. Produced in 2023 with support from the Queens Council on the Arts and edited with the invaluable collaboration of Manuel Molina Martagón, this film is part of my ongoing exploration of gender, identity, and human dignity through The Pink House project.
"Live Machinery" ( watercolor on paper, 24X32-2026, emerged through experimentation rather than from a predetermined image. I allowed watercolor to spread, overlap, stain, and sometimes resist my control, while drawn structures, small gears, and pieces of gold paper entered the composition as points of tension and illumination. I imagine machinery not as something cold or fixed, but as a living system—fragile, organic, and continuously assembling and coming apart. As in much of my work, the image moves between memory and invention, landscape and architecture, intention and accident. Each transparency, interruption, and revision preserves a trace of the creative process, revealing a world that remains unstable, transforming, and alive.
