STATEMENT
Having a background as a lawyer and having had close contact with political issues, I intentionally seek to distance my work from any stance that may generate conflicts in this regard. Instead, I explore topics related to spirituality—not from a religious perspective, though I believe that coming from a conservative culture, those teachings are ingrained in beliefs—but rather psychological and more related to nature. I am interested in delving into the subject of death, questioning the connotation that society commonly attributes to it as something sad and devastating. For me, it is another step in the cycle of life that should be understood, celebrated, and accepted in a positive way. Perhaps this has to do with my stance on what we consider a misfortune. When I was born, doctors discovered that I had congenital toxoplasmosis, severely limiting my vision, and suggested to my parents that they treat me specially. However, they raised me as a normal person, and I was able to develop without limitations. This is why in my pieces, the image of women with closed eyes among colors and shapes that inspire strength is recurrent; it is the way I find to symbolize my own life and the lessons I have acquired. Similarly, I use the image that certain animals have and their connotation to symbolize moods at different moments in my life. The use of large formats in my work is fundamental. In abstract paintings, I can feel free to explore colors and try to replicate a bit of how I literally see the world. Also, in my Spirit Animals series, 2019-2020, I explore the meaning of animals in different cultures because I believe that it is only through a global and multicultural knowledge that one can find answers to life’s big questions.
STATEMENT
Having a background as a lawyer and having had close contact with political issues, I intentionally seek to distance my work from any stance that may generate conflicts in this regard. Instead, I explore topics related to spirituality—not from a religious perspective, though I believe that coming from a conservative culture, those teachings are ingrained in beliefs—but rather psychological and more related to nature. I am interested in delving into the subject of death, questioning the connotation that society commonly attributes to it as something sad and devastating. For me, it is another step in the cycle of life that should be understood, celebrated, and accepted in a positive way. Perhaps this has to do with my stance on what we consider a misfortune. When I was born, doctors discovered that I had congenital toxoplasmosis, severely limiting my vision, and suggested to my parents that they treat me specially. However, they raised me as a normal person, and I was able to develop without limitations. This is why in my pieces, the image of women with closed eyes among colors and shapes that inspire strength is recurrent; it is the way I find to symbolize my own life and the lessons I have acquired. Similarly, I use the image that certain animals have and their connotation to symbolize moods at different moments in my life. The use of large formats in my work is fundamental. In abstract paintings, I can feel free to explore colors and try to replicate a bit of how I literally see the world. Also, in my Spirit Animals series, 2019-2020, I explore the meaning of animals in different cultures because I believe that it is only through a global and multicultural knowledge that one can find answers to life’s big questions.
STATEMENT
“Al enfrentar nuestros miedos a través de la aceptación, nos abrimos a la posibilidad de florecer incluso después de una pérdida. La liberación del ego se presenta como un acto valiente para enfrentar nuestros miedos, paradigmas y tabúes, sanando emocionalmente de la inevitabilidad de la muerte”
T.H
La serie "Trascender" de Tiz Henriquez es un testimonio artístico que invita a una profunda reflexión sobre la dualidad de la vida y la muerte. Cada obra de esta exposición aborda la transitoriedad de la existencia y la transformación que experimentamos en las diferentes etapas de la vida. A través de esta invitación que hace la artista hacia el autoconocimiento, el público enfrenta emociones como el miedo, el dolor, la culpa, el vacío, el apego y el caos.
El elemento del espejo, en su función simbólica, nos adentra en una contemplación profunda de la dualidad fundamental entre la vida y la muerte, lo material y lo espiritual. Nos hace reconocer la interconexión entre estos opuestos aparentes, transformando la muerte en un reflejo esencial de la vida. Este enfoque desafía los tabúes que rodean a la muerte e invita a integrarla como parte fundamental de nuestra existencia, la muerte como parte del ciclo, no como un final.
Cada paso en este recorrido artístico aborda las emociones crudas y humanas asociadas con el proceso de enfrentar la muerte. Desde el miedo y el tabú hasta el dolor y la tristeza que acompañan a la pérdida, la exposición explora también la carga de la culpa y la constante presencia del vacío. El apego, considerado por algunos como negativo, se presenta como una oportunidad para disfrutar cada momento, revelando su lado positivo en la experiencia humana.
La exposición destaca la resiliencia como un proceso de renacimiento y crecimiento, comparable a los ciclos naturales de la vida. Se explora la conexión con la naturaleza, evidenciando la inevitabilidad de la muerte en los ciclos y la posibilidad constante de nuevos comienzos.
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Finalmente, la exposición nos sumerge en la noción de que somos parte de un universo interconectado. La dualidad entre nuestra materialidad y nuestra alma se desdibuja, y nos damos cuenta de que, como energía, estamos conectados en nuestro pasado, presente y futuro. A través de obras en diferentes formatos y técnicas, la artista ofrece una perspectiva que trasciende lo individual para abrazar la unidad del cosmos. "Tejido de Vida"; es un llamado a explorar nuestra existencia con valentía, compasión y apertura a la transformación constante que la vida nos ofrece.