Work samples

  • mar y arena

    Based on the four elements, I materialize the displacement and emptiness as I massage the ground to mold Tacarigua into the sand of Dewey Beach, Delaware, while contemplating the grounds of Margarita, Venezuela. It results in the merging of two places, by natural elements or a state of mind.

     

    Filmed by Elisa Murillo and edited by María Sánchez

  • desenterrando (unearthing) installation documentation

    Desenterrando (Unearthing), is an ongoing installation composed of multiple artworks with video projections, metal-wire sculptures, ceramics and drawings. Through ritualized performances, I seek to unearth recollection for my grandmother, Maritza de la Coromoto, and make connections with my matriarchal lineage. Resulting in a reflection of the traditional hierarchical structure of Venezuelan culture, the woman as the central figure. Throughout the space, there is a repetition of these female figures made with ceramics, prints, candle wax, coffee grounds and sand.

  • Untitled (three drawings)
    Untitled (three drawings)

    Drawings, 2024.

    11x14 on toned paper. Red, white, and black color pencils. 

    Available for Purchase
  • Becoming I

    Directed, edited, and starred.
    Music score by John Winfred II

About Maria

Leaving her native country, Venezuela, at a young age and not being able to return has led her to explore questions about self, place, and belonging in her work. There is an obsessive desire to volver a la tierra, to go back to your roots. Utilizing materials found in the U.S., María reterritorializes them into sacred objects based on memories from Venezuela, family, and the myth and cult of María Lionza. As a way to process the conditions that brought her to this country, she aims to… more

Desenterrando (Unearthing): documentation

Desenterrando (Unearthing), is an ongoing installation composed of multiple artworks with video projections, metal-wire sculptures, ceramics and drawings. Through ritualized performances, I seek to unearth recollection for my grandmother, Maritza de la Coromoto, and make connections with my matriarchal lineage. Resulting in a reflection of the traditional hierarchical structure of Venezuelan culture, the woman as the central figure. Throughout the space, there is a repetition of these female figures made with ceramics, prints, candle wax, coffee grounds and sand.

  • desenterrando (unearthing) installation documentation

    Desenterrando (Unearthing), is an ongoing installation composed of multiple artworks with video projections, metal-wire sculptures, ceramics and drawings. Through ritualized performances, I seek to unearth recollection for my grandmother, Maritza de la Coromoto, and make connections with my matriarchal lineage. Resulting in a reflection of the traditional hierarchical structure of Venezuelan culture, the woman as the central figure. Throughout the space, there is a repetition of these female figures made with ceramics, prints, candle wax, coffee grounds and sand.

mar y arena

Based on the four elements, I materialize the displacement and emptiness as I massage the ground to mold Tacarigua into the sand of Dewey Beach, Delaware, while contemplating the grounds of Margarita, Venezuela. It results in the merging of two places, by natural elements or a state of mind.

  • mar y arena

    Based on the four elements, I materialize the displacement and emptiness as I massage the ground to mold Tacarigua into the sand of Dewey Beach, Delaware, while contemplating the grounds of Margarita, Venezuela. It results in the merging of two places, by natural elements or a state of mind.

     

    Filmed by Elisa Murillo and edited by María Sánchez

Conversación Series #2 and #3

The meditative process of the intimate rituals I have documented with my body to the sound of tambores, using sage stick, candle wax, white and red chalk, in scrolls of paper for Conversación Series #2 and #3, reveal answers from my ancestors and translate forms with materials of the past and present from the U.S. and Venezuela. The result comes from my disconnection with the ground, ocean, and air of this country. I begin to question what it means to not be able to go back, and the only source of feeling close to home is to reterritorialize U.S. materials into Venezuelan portals and objects.

  • Conversación Series #2 and #3
    Conversación Series #2 and #3

    There are mirrors, candles, shells, a rusted nail, and two sculptures based on the Venezuelan pre-columbian figurine, La Venus de Tacarigua. 

  • Conversación Series #2 and #3 (detail)
    Conversación Series #2 and #3 (detail)
  • Conversación Series #2 and #3 (detail)
    Conversación Series #2 and #3 (detail)
  • Conversación Series #2 and #3 (detail)
    Conversación Series #2 and #3 (detail)
  • Conversación Series #2 and #3 (detail)
    Conversación Series #2 and #3 (detail)
  • Conversación Series #2 and #3 (detail)
    Conversación Series #2 and #3 (detail)

La Margarita

Experiments with collage of images printed on newsprint, hair nailed with pins and rusted nails, wax drips, sage marks, body marks with coffee grounds and sand, and a border of sand on the floor. The images are from the island of Margarita in Venezuela, they are archived from my grandmother's album from the 70s, and my father's photo from a family trip we did in the 2000s. During these experimentations, the US was bombing in front of the island, in the Caribbean ocean, and all I could think about was the smell of the ocean y como extraño el momento en el que el mar se une en la orilla con la arena. Mis pies se sumergen, uniendome con la arena y el mar. 

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