Ni De Aqui Carpetas
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Lo Que Una Vez Fue Delicado Se Convierte en Sólido (2026) examines the burial of hyperfemininity and the transformation of vulnerability through experiences of love, betrayal, and emotional self-protection. The doily, traditionally associated with domesticity, delicacy, femininity, care, and the labor of the home, serves as the foundation for this transformation.

Across the three works, the doily gradually disappears beneath layers of gruta, transforming from something soft, delicate, and recognizable into something solid, heavy, and seemingly impenetrable. In the first work, the doily remains fully exposed, preserving its intricate pattern and fragile texture. In the second, it begins to disappear as the gruta gradually surrounds and consumes its surface. By the third, the doily is almost entirely buried, leaving only its silhouette as evidence of what remains beneath.

The progression creates a physical record of softness becoming hardness. The transformation becomes a metaphor for the emotional walls we construct after experiencing hurt and betrayal. After being betrayed in love, I felt my own softness begin to disappear. Vulnerability, once associated with intimacy and connection, became something I needed to protect. Like a wall, I became harder, not because I no longer possessed softness, but because I no longer felt safe exposing it.

Gruta becomes a metaphor for this emotional hardening. It is a material capable of holding, preserving, and enduring, but it can also conceal and create distance. As the doily disappears, the work reflects my gradual withdrawal from relationships and my growing resistance to vulnerability. Yet the remaining silhouette suggests that this delicate self has not been destroyed. It continues to exist beneath the hardened surface—buried, protected, and waiting to be uncovered.

What was once delicate becomes solid, not because vulnerability no longer exists, but because it has been buried as a form of protection. Gruta becomes a metaphor for this emotional hardening: something that can hold, preserve, and withstand, but also something that creates distance. The disappearing doily reflects my own process of closing myself off from relationships and becoming less willing to be vulnerable. Yet the remaining silhouette suggests that the delicate self has not completely disappeared. It is still present beneath the surface, concealed rather than destroyed.

ARTWORKS FROM THIS INSTALLATION

Delicada

Me Quieres Mucho, No Me Quieres Nada (2026) is an installation I constructed during my month-long residency at Casa Lü in Mexico City. The work is an abstracted self-portrait built from the emotional residue of the last several years, my experiences within a past relationship, betrayal, sexism, comparison, questions about my cultural identity, and the complicated feeling of being loved by people who no longer seemed to like, understand, or accept me.

 

I was thinking about what it means to be “liked, but not liked.” To once feel wanted by the people I loved and then experience rejection, comparison, criticism, or dismissal from those same people. 

 

I approached this installation much like I approach filmmaking. Coming from a cinema background, I think of this body of work as a film. There are characters, textures, color palettes, compositions, objects, symbols, and a soundtrack. The installation is accompanied by a five-minute poem that must be listened to while moving through the space, making the viewer not simply an observer, but part of the narrative and a forced listener to this specific story. 

Every element carries a piece of the story. The cacti, thorns, tongues, lace, windows, architectural forms, and the color pink become characters within this emotional landscape. Pink is deeply connected to the visual landscape of Mexico, its architecture, cars, clothing, and everyday environments, but it has also become a color which I identify myself with in my artwork. I wanted the color to be "too much", because I've been told that I am too much. Instead of letting that hurt me, I do it purposefully in this work. It's a color so obvious that you can't help but see it, its presence. 

Returning to Mexico allowed me the opportunity to reclaim my narrative and to reconnect with materials, soil, thorns, textures, colors that connected to my identity. Working with these materials became unexpectedly therapeutic. I could experiment, make mistakes, be excessive, be angry, be tender, and, most importantly, make whatever I wanted, which is a very normal part of expressing oneself in a healthy and artistic way. Me Quieres Mucho, No Me Quieres Nada is stubborn, vulnerable, angry, playful, ugly, but also beautiful. It's a self reflection of not being perfect, but being honest. I have expereinced many ugly things, but I have also experienced many beautiful things. It is a space where I allow myself to remember what happened, grieve what I lost, and confront what still hurts.

 

I heal through making art; I take what I cannot always say and give it a physical form. Although this installation comes from my own experiences, I hope that its emotional honesty creates a space for others to recognize something of themselves. To feel heard, to feel seen, to confront their own pain, and perhaps to begin healing.

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