visual art
"hija del fuego"
the south of chile, ink and natural pigments, 2026
my journey to the kingdom of the volcano ruca pillan in the south of chile — the "house of spirits", one of the most active volcanoes in the world.
after a year of healing and "shedding skin" in peru, the energy of the volcano invited me into a process of integration — of everything i had learned and lived through.
painting the volcano and photographing it again and again allowed me to feel more connected to it, entering a deeper dialogue with the "grandfather fire".
my journey to the kingdom of the volcano ruca pillan in the south of chile — the "house of spirits", one of the most active volcanoes in the world.
after a year of healing and "shedding skin" in peru, the energy of the volcano invited me into a process of integration — of everything i had learned and lived through.
painting the volcano and photographing it again and again allowed me to feel more connected to it, entering a deeper dialogue with the "grandfather fire".
“ode to my family”
natural pigments on canvas, peru, 2025
this series of canvases was created with stones and soil in the high jungle of peru during a profound and magical healing journey.
it is my love letter to family — a portal to my childhood, a world where we are still happy together.
the series was exhibited in the international group exhibition "manifiestos femeninos" at casa fugaz, monumental callao (lima, peru).
creation process in the jungle (sachaqa art residency, peru):
this series of canvases was created with stones and soil in the high jungle of peru during a profound and magical healing journey.
it is my love letter to family — a portal to my childhood, a world where we are still happy together.
the series was exhibited in the international group exhibition "manifiestos femeninos" at casa fugaz, monumental callao (lima, peru).
creation process in the jungle (sachaqa art residency, peru):
“ode to my family”
exhibition at casa fugaz (lima, peru):
"self-portrait as guanin"
and the letting go of the crusifix
and the letting go of the crusifix
natural pigments and solo-performance, peru, 2025
if once upon a time you accidentally built yourself a crucifix, hang on it. live on it, bleed on it.
but don’t fall in love with it. that’s important.
when the time comes, get off it. carry it yourself. make a fire. and burn it all to ashes. with flowers, with honor and relief.
as if nothing had ever happened.
if once upon a time you accidentally built yourself a crucifix, hang on it. live on it, bleed on it.
but don’t fall in love with it. that’s important.
when the time comes, get off it. carry it yourself. make a fire. and burn it all to ashes. with flowers, with honor and relief.
as if nothing had ever happened.
three self-portraits:
"mermaid"
"shadow"
"the one who knows // la que sabe"
"mermaid"
"shadow"
"the one who knows // la que sabe"
natural pigments made from beetroot juice, eucalyptus, soil and stones of the sacred valley, perú, 2025
i often said that the sacred valley was my spiritual laundry — a 90° endless spin. while i was diving deeper into myself, peeling away layers, i painted. and for the first time in my life, i painted myself.
again and again, in different shades and forms.
painting itself became sacred. a cleansing tool. i painted the doors i could open.
i often said that the sacred valley was my spiritual laundry — a 90° endless spin. while i was diving deeper into myself, peeling away layers, i painted. and for the first time in my life, i painted myself.
again and again, in different shades and forms.
painting itself became sacred. a cleansing tool. i painted the doors i could open.
“the fairytale series”
mixed-media, collage on board, london, 2024
coming back to fairytales in my 30s made me rethink these stories in many ways. i began to notice parallels between the tales i loved in childhood and the scenarios i was choosing in my adulthood — and to see these stories in a completely new light.
i created a series of collages and later curated an international art exhibition in the center of london (link to the exhibition), where artists from all over the world came together to create a kind of adult magical world.
coming back to fairytales in my 30s made me rethink these stories in many ways. i began to notice parallels between the tales i loved in childhood and the scenarios i was choosing in my adulthood — and to see these stories in a completely new light.
i created a series of collages and later curated an international art exhibition in the center of london (link to the exhibition), where artists from all over the world came together to create a kind of adult magical world.
"self-portrait as a total mess"
collage, london, 2024
the painting was created in the very turbulent times for me while adapting in london and letting go of my took part at the international exhibition at tokyo metropolitan museum
the painting was created in the very turbulent times for me while adapting in london and letting go of my took part at the international exhibition at tokyo metropolitan museum
"the things i leave behind"
the collage series i created while living for two years in istanbul.
it was the time when the war between russia and ukraine began, and i was one of many immigrants trying to find a way to deal with sorrow, pain, and fear through art.
(more for the artist page): this was also the moment when my relationship with art reinvented itself. it became a coping mechanism. for months collage was the most accessible "kitchen" art tool — a simple way for me to express and process my emotions.
later i received the global talent visa to the uk and presented the series at arthereistanbul — an immigrant-supportive gallery in the artistic heart of the asian side of istanbul, a place that gathered many of the people who became my family during my time in türkiye.
it was the time when the war between russia and ukraine began, and i was one of many immigrants trying to find a way to deal with sorrow, pain, and fear through art.
(more for the artist page): this was also the moment when my relationship with art reinvented itself. it became a coping mechanism. for months collage was the most accessible "kitchen" art tool — a simple way for me to express and process my emotions.
later i received the global talent visa to the uk and presented the series at arthereistanbul — an immigrant-supportive gallery in the artistic heart of the asian side of istanbul, a place that gathered many of the people who became my family during my time in türkiye.
"the things i leave behind"
solo-exhibition at arthereistanbul (jan, 2024)
