“Inspired by Zen philosophy, the notion of the reductive that finds essences, takes front position in my art-making at the moment, as well as in life. Like multi-dimensional aspects of memory condensed into single moments of receptivity, my personal archaeology fuses meanings of distance and nearness… the sun’s reflection on a surface as I pass… stones buried on sand… an ancient burial seen from the air… the shape of a body under a sheet.  To be able to keep an attentive focus is a gift and a rarity these days, it allows the senses to sharpen and their receptions to appear like ceremonial imprints.”

Objects for a Ceremony, mixed media, detail.  Santa Fe 2000.


“I can find joy in the texture of a stone. Materials speak of concepts only to one’s mind. In Objects for a Ceremony, paper pulp, cacao, and rubber offer a metaphorical guide into the rain forest of Amazonia and the archaeological memories of Body, House, Garden and Cosmos to find the ceremonial place and ritual journey of personal belongings.”

Objects for a Ceremony, detail.  Paper pulp, rubber, wire, pigment.  SantaFe 2001.

Installations, mixed media, 1998-2005


“After being involved in commercial plaster wall work for a few years, I became sensitive to the quality of translucency that is inherent in limestones and rutles in Venitian plasters. I was also exploring the chemistry of Scagliola work. This technique was used by the Egyptians, Greeks and Romans to create durable, thickerwall and floor surfaces which would resemble marble, in fact almost indistinguishable. That’s how I came to Selenite as it was used in Selenite Plaster. I used it as a pigment in acrylic resins.  Selenite or Lapis Specularis is a mysterious material, the only translucent gypsum originally from Crete.”

Selenite, plaster, resin on wood.  Santa Fe 2005.


“In the most recent works, the obvious becomes muted by the subtle, the foreground merges with the ground and the result is a texture that evokes a visual memory by non-literal means, or a specific taste or papillary experience, or sometimes even a sound. For example, the way the piece interacts with a particular quality of light to reveal texture memories, like a confectioners special treat we tasted once, or a memory of some ancient wall we picked up from a book or travel, or the reflection of an iced pond.”

Oxides, plaster, interference pigments on wood.  Santa Fe 2008


“In 1998, I became interested in the color white. By white, I mean any material that has an interesting reflective or refractive aspect. In powder form, it is mixed with different types of resins and added in multiple layers to achieve specific kinds of effects. Certain qualities from these materials exist within the realms of translucency and opacity.”

Lime, resin, clay on canvas, Santa Fe 2000


“Creativity shows up in many ways. A creative person can respond to many things that are present in his/her daily world. The actual process of using materials to make art objects is one of the areas where an artist finds queues and guidelines as to what direction to take.”

Lluvia (rain) from Materia Prima, installation, detail, mixed media,  Santa Fe, New Mexico-Caracas, Venezuela 1999.


Adriana has worked in many art mediums and explored a diverse range of materials, which takes into account her affinity for tactile materiality. Love of materials is evident in the way they conceptualize her projects. Underlying this method is a consistency of expression, determination, order and personal vision.

Image:  Caos, from Materia Prima, detail, mixed media, Santa Fe, New Mexico-Caracas, Venezuela 1999.


“What interests me about the phenomenon of remembering that comes from reductive means or triggers is that the experience can be felt synergistically or through the emotions, rather than through the intellect. At a technical level, I really find pleasure when the materials speak clearly about their subtleties and possibilities.”

Unitarios, installation, sewn fabric, Santa Fe 2008.


“I’ve worked with many materials that have suggested pathways to ideas. I’ve derived much pleasure from the course a material can suggest. These have revealed the texture of sculptural objects and paintings, which have stood alone or have been part of installations.”

Santa Fe, New Mexico 2002


Definition:  All existence in a constant state of flux.

Objects: Bronze and iron patina

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