“Donde guardo mi fe”
Analogue and digital photography, printed on Hahnemühle Pearl 320gsm, mounted in aluminum frame in the shape of a cross suspended in chains.
75 x 100 cm
May 2025.
(Chains only included upon request)
Part of the project: Dreams, the occult, symbolism and iconography.
I don’t consider myself a religious person, yet I carry deeply rooted beliefs within me. I believe in the universe—the cosmos—the expansive energy that surrounds us. I believe that dualities can coexist: that we are all one, and yet each of us is a unique being. I believe in light and darkness, in love, in peace, in mother earth. I believe in dreams and the subconscious. I believe in magic. I believe in the collective consciousness.
And yet, whenever I find myself in a state of fear—when I go into fight or flight—I speak to God. “Dios” is part of my daily vocabulary. I’m not Christian, nor religiously Catholic, but in moments of crisis, I instinctively call on God. It comes from somewhere deep within me—an ancestral place. I am Latina, I grew up in a culture where God, Jesús, and the Church are part of the everyday. Even though I no longer identify with that religion, and have tried to unlearn those ways of expressing myself, today I choose to honor that part of me.
This work is a tribute to the nine beliefs that live within me: love, peace, mother earth and its alchemy, connection, dreams and the subconscious, magic and the occult, light and darkness, the cosmos, and multidimensionality. While these beliefs may not belong to any traditional framework, I choose to house them within a symbol that does: the cross. A structure that holds the paradox of my spirituality—nontraditional beliefs, kept inside the visual language of the religion I grew up with.
This is where I keep my faith.
“El Altar Rojo”
Refurbished wooden table with cherries printed photograph sealed under glass
60 x 60 x 39 cm
May 2025.
Part of the project: Dreams, the occult, symbolism and iconography.
”El Altar Rojo” Refurbished Balinese-style wooden table, cherries, printed photograph sealed under glass.
A wooden table, carved in a Balinese style, was carefully refurbished and transformed into an altar. At its centre, beneath a protective glass layer, lies one of my photographs: cherries lit by flash in the dark.
The cherry—deep red, plump, ripe and luminous against the black—evokes cycles of ripening, offering, and transformation. But also, sensuality and temptation. It is a fruit that stains—fingers, lips, memory. It recalls ancestral rituals and the feminine connection to nature, regeneration, and intuition. There is a quiet tension in the image: beauty held in stillness, fullness on the edge of decay.
This piece became the natural altar to Donde guardo mi fe. It grounds the cross in something tactile and symbolic—an object that invites presence, offering, and reflection. This one holds space. It supports the cross not as an object of worship, but as a container of belief—mine, yours, and everything that exists in between.
In many traditions, altars act as portals between worlds, places where intention meets matter. Here, that function is reimagined. El Altar Rojo bridges the visible and the invisible, the personal and the universal, anchoring the spiritual language of the work in a form that is quiet yet loud in meaning.