Leaving her native country, Venezuela, at a young age has led María to explore questions about self, place, and belonging in her work. María’s art practice documents the presence and absence of her body through devices and materials such as: cameras, mirrors, metal wire, hair, and charcoal. She uses video projection, drawing, sculpture, and performance to explore narratives about ancestors, embodiment, and spirituality. María uses her body as a camera and a mirror that constantly transforms, distorts, contains, and fragments itself into new forms in order to communicate with her female ancestors, motherearth, and herself.

María has formed relationships with Venezuelan figures like: la venus de Tacarigua, la virgen de Coromoto, and María Lionza, using them as vehicles to transmit her ritualized performances. In particular, she is experimenting with natural materials and visual images, in order to communicate with Maritza de la Coromoto, her grandmother who she never met, although she is her reflection and her resemblance. Through these figures, María hopes to find answers about her roots, womanhood, spirituality and deterritorialization.