Studio floor Studio in Cill Rialaig Ireland

Artist Statement

ABSTRACTS

My last abstract paintings have to do with my story as an immigrant. I come form a family of immigrants: I was born in Mexico City but 3 of my grandparents immigrated to Mexico from countries such as Cuba, Spain and Ireland. My parents both were migrants. Luis, my husband too as he came to study in Mexico from South America and now we are immigrants in the UK, making our children immigrants as well. These abstract pictures are like palimpsests of different past stories, which leave traces that cannot be erased showing the labyrinthine paths and spirals of our lives… with many puzzles to solve.  

FIGURATIVE

There is a line that cannot be drawn which connects the act of looking with what we see. It separates what we can know from itself as all things we experience simultaneously occupy both positions. The internal movement between what we see and how we look - the ability of each to appear as the other - makes the line untraceable and yet impossible to ignore.

My work expresses a modernity that emerges from the classical era and also from the materiality of the process of painting. I am interested in the way in which figurative painting overwrites its verisimilitude even as it expresses it. My work plays with the idea that what is recognisable and familiar also expresses what can never be known. The mimetic character of figurative painting articulates the grand narrative of self but there will always be something unresolved and unknowable in a line that cannot be mapped.
I explore the body as a physical boundary connecting knowledge of the subject with the experience of the unknowable. I want to explore the line between what the eye sees and what the mind can know. Painting the landscape of the body feels both familiar and fantastical, everyday and mythical. It's a matter of tracing the internal connections between the contemporary sense of self as unknowable and the promises of the classical ideal.

Figurative painting can capture knowledge of the subject but our eyes are blind if it is our mind that tells our eyes what they see. My goal is to express the internal connection between ‘blindness’ of the eyes and insights of unknowing; to explore the interrelationship between figurative veracity and the language of painting. Exploring this blindness - aesthetically and philosophically - has been my preoccupation in my recent experience as a figurative painter. In doing so, my aim is to extend the narrative of my subjects even if that narrative remains an enigma.