Since the beginning my work orbits within the feminine universe. As a woman, I am interested in deconstructing the male gaze upon the female body, to replace it with my gaze focused on my body. I explore the feminine through vaginal form, as a common place of representation of the feminine, to reposition my context with maps and cartographies. I use floral images as metaphor, incorporating 19th century botanical plates, emphasizing on plant reproductive organs. Sometimes, my representations of the feminine have a religious character, an imaginary that comes from the masterpieces of European art and Andean colonial art acting as references of the history of painting in Bolivia. I appropriate masterpieces whose sublimated beauty make me uncomfortable and I reconceptualize them. All these elements are part of my historical memory. The use of ornaments as a base reminds me of the images I grew up with, of the stone facades of baroque churches, of Spanish tiles, of the pattern of textiles in garments and tapestries. I incorporate texts. In the manner of the scientists in the logbooks of the 19th century, I describe the visual elements, re-signifying and questioning their meaning.

I began my artistic practice with collage, working the medium in a very playful, loose and colorful way.
Currently the media I work with are drawing, painting, collage and textiles. Experimentation in techniques
is still a main feature in my work, born out of a basic need to avoid monotony. I work in series to exploit all the possibilities of a single idea. A piece from a previous series will lead me to a further one whether in
terms of format, color, technique or concept. It’s like a loose thread that leads me to the next a ball of