Currently, urban constructions have ceased to be thought of and focused on the individual, causing a disproportion between what we could call human scale and urban scale. The structural and sociocultural characteristics of those places influence the forms of use and transit of public spaces, establishing a new habitation, where the experience of the place as a private and personal space disappears. My work focuses on the symbolic representation of the feeling of helplessness and loneliness in today's societies. Syndrome that seems to be intrinsic to large metropolises, and that ends up isolating individuals within the crowd. The soft and flat colors give calm and harmony to what is represented.

“Landscapes of Memory” aims to restore to the evidence of the photographed spaces their dimension of memories, giving them back their voice, their essence of places through transposition into another language. The artist invites by e-mail a group of friends and people close to her to participate in her project, asking them to send a photograph capable of eliciting a significant memory, leaving aside its aesthetic characteristics at the time of selection. Digital photography, that is, the visual manifestation that comes closest to “evidence” in the common sense, is then the starting point for the reinterpretation of the memory it contains, in a transfer that uses the language of painting as a medium. Thus, a second gaze, the painter's gaze, interferes between the initial space and its representation in memory, retelling something that – only from now on – also belongs to her (---) text by Vanina Saracino.

I use registration and identification methods such as the EAN 13 type barcode (global product coding system) and the DNI with data such as name, date and place of birth, to generate a new subject identification system. Photography from the back is a way of ironizing the rigidity of these methods, which identify us more as a product, a made-in, than as a subject seen through a structure that represents us. Each series is shown as a window of information that, however, loses its usefulness due to the way in which it is displayed. Michel Foucault, in his texts on power, proposes the “surveillance state” as a form of behavioral control over people and societies. Being in circulation introduces us to a permanent police system, the barcode and the photograph from behind is an irony (...)

Nómades talks about migrations, human movement in various scenarios and landscapes of the planet. In the paintings we see small characters carrying their belongings with them; sometimes in the form of objects, backpacks, bundles that emulate fabrics; Others make advances to their children, to their loved ones. Nómades transcends from the autobiographical to the collective to suggest a journey. A journey that cannot be described but can be imagined. The series is in process, in the research and creation stage.