The feminine face, identity and texture, initially manifested unconsciously, have over the years been assimilated by the artist and brought to life through paint. Ausencia, Ramas, and Medea, all portraits but not of individual people, show one facet of femininity and its history as both creator and destructor.
After expressing herself through portraiture, the artist began to focus on the expressivity of the hands which, along with a portrait, can contain the entirety of one’s history and identity. The language of the hands, gesticulation, is shown alongside another silent language, that of painting.

These subjects have implicitly suggested concepts like beauty, mystery, essence, absence, the oxymoron of the irreality of painting, and the limits of being human. The last of which has the influence of Eugeni Trias’s theories very present. The painting is a window, a border between the real and the unreal, that projects the limits of man. This bi-dimensional space allows the artist to choose what part of “reality” to enclose within the limits of a frame. From here Ausencia was born.