“Reticello” is a revision of Venetian reticello, using closed furnace techniques. Coloured lines and trapped bubbles play with light and shadow in the decoration of this piece.
“Atada a ti”
“Atada a ti” was made in a hard moment of my life. As if my hands operated what my soul felt, the glass took the form of a flaming choir.
Inspiration of the natural, the perceptible and the imperceptible. To the small beings of nature, which our eye knows how to perceive, mimicry and observation. Unions, paths, routes, for patient gazes.
“Fecundació in vetro”
In this work we explore one of the forms of creation, “fertilisation”, where two elements combine genetically with each other to give birth to a new entity, different from the previous ones, different, better…
The sea as subconscious, a colossal mass of unknown currents that drag us and on which we float, clinging to our small island of will. An amorphous immensity where nothing is solid or defined, mother of the symbolic and source of art. And the glass, like water, with its liquid structure, becomes a small particular sea where to submerge and let oneself be returned to the original matrix, where everything is possible.
Unusual territories when boundaries are lost… When we are and are not the same, when we play together… Sometimes, when mud and glass meet… Forever and ever.
Territories are works that are born from experiences and research, and are kept as treasures until one day they speak again.
Everything I like about the photographic medium is in its DNA: “The fiction of reality”.
There is a new world, another reality within each image, a parallel world in which I can immerse myself, with which I dialogue, where I find paths and ways towards the unknown, the unknown that is coming and that we are gestating. I experience this process as a search for myself, a way of seeing the relative of reality and thus being able to transform it.
With this manifesto my images navigate through concepts such as: emptiness/place – non-place/absence – presence/disgust/ reality – fiction/ a dream inside another dream…
“La mujer helada. Empower you”
When I read an article by RAFAEL J. ÁLVAREZ about male violence, the desolation it caused me made me create this work, which is part of the collection “La mujer helada” (The frozen woman). This work was born as a cry for the hundreds of murdered women, mistreated by their partners and by a society that does not listen to us. As a shield as hard as glass, but as fragile as each one of us, with which to defend and empower ourselves. It is dedicated to all women whose lives are being stolen or have already been stolen, whether they are alive or buried.
The vertebrae support, protect and balance us. Vertebrae ensure mobility and sensation in the body. Vertebrae promote the absorption and dissipation of mechanical shocks and protect the central nervous system. Vertebrae appeared in my creative process at a time when I was going through a crisis of pain and movement. The vertebrae were causing me pain and I could do nothing to alleviate it.
GLASS appears then to materialize this pain and take it out of the body. A material exorcism of the pain. A goodbye to the one who makes you suffer. Of inclinations and fears.
“Leio my Oma”
In the project “Le poids del inexistant” of which this work is a part, the artist questions motherhood and infertility. In doing so, she explores physical and psychological anomalies, while reflecting on the female condition and the obligation to experience motherhood in order to be considered a real and complete woman.
They say that space can fold due to the forces of other stars, so when I think of this piece, I think of a system, a set of objects, not a unit.
One side of the lamp always hides the other. Observed from one of these sides, the lamp gives the impression of an eclipse, hiding a part of itself. While in a solar eclipse the moon comes between the sun and the earth, in ECLIPSE a metaeclipsi is created: The star/object/lamp itself covers itself as it burrows or changes its point of view, increasing the intrigue of its dryness. By day the lamps have their own shadows, creating a space of mystery.
Denotative: The moon is on another glass and backlit from the base, it seems invisible.
Connotative: It is a moon at rest, still, motionless.
It represents the invisibility of the woman, since the age of metals.
Our Lady of Fibromyalgia is not a virgin, nor is she a saint. Her suffering is neither venerated, nor made visible, nor imprisoned as a model of anything. Our Lady of Fibromyalgia lives in many women invisibly, going through a Via Crucis that lasts for years. Feeling questioned by everyone. Making an endless pilgrimage of medical consultations and sterile tests.
“La Dolorosa” wants to make Fibromyalgia visible, as invisible as it is real, that lives hidden inside hundreds of thousands of people, almost all of them women. La Dolorosa puts pain as a crown and empowers the woman warrior that she carries inside, distancing her from the feeling of weakness, showing instead the strength and the light that emanates from her, in spite of everything.
Travel Companions and Totems.
Birds are the protagonists of many “snapshots” in our lives: The screeching of the swifts hovering over the rooftops. The chatter of the bee-eaters that make night at the poplars by the fountain. The enigmatic chirping of the oriols, always discreet and lovers of figs when I dream of ripe figs. The herons leaping over the roofs, going over the nests of other birds without scruples or malice.
The symbolic universe of birds is immense: they symbolise the relationship between heaven and earth, lightness, liberation from earthly heaviness, spiritual states. Their language is that of the gods, of a primordial purity, they preserve among us something of the song of creation.
A world without birds is for us one of the images of Hell.
The absent water. The qualities of the glass embody the main visual characteristics that represent the organic transparency of water.
Like rays, like puddles, bubbling, explosive and immobile. Either way, water attracts us, we need it, it inspires us, we overuse it. When we are dazzled from the sky by the infinite courses of rivers that intertwine on the earth and burst like waterfalls in free fall, the waves that ripple the sea, the immensity of the ocean, the majesty of a glacier. It is indispensable, it surrounds us. And paradoxically, we forget to value it.
I seek to enhance the virtue of this element, to recall its beauty, to celebrate the daily moment in which we enjoy and nourish ourselves with it.