In Luciferina II I reimagine art-historical imagery through a contemporary, hand-built digital language—without AI. Starting from classical and modern art I admire, I deconstruct and rebuild them from scratch: hard-edged geometry slices through dense organic fields; characters and symbols fracture, melt, and recombine until their meanings transform. Technology in my practice is not spectacle but an extension of painting itself—pixels, virtual volumes, and digital strokes standing in for oil, canvas, and glaze. In today’s flood of images, appropriation becomes not an end but a method to probe cultural memory, shared iconographies, and the bonds we form with pictures.
As a Latin American woman artist, I reinterpret the paintings of Hieronymus Bosch from a contemporary, feminist perspective. In his era, women were barred from formal artistic study; by transforming his works, I reclaim a voice once denied. This feminist re-visioning also resonates with Latin American traditions—embracing saturated color, layered symbolism, and hybrid cultural vocabularies that bridge European masters with our region’s visual intensity.
Through a system of symbols—geometric and organic, analog and digital— Luciferina explores imagined spaces between material and spiritual realms. By combining painting techniques like spray and airbrush with digital tools, I weave new narratives from Bosch’s legacy, inviting reflection on society, spirituality, and the human condition today.
