I started painting in 1989, in the streets of Barcelona, Spain. At the time, as you can imagine, the presence of a woman painting graffiti was very rare, the few that were active very much stood out. There was no street art back then and the streets were much more dangerous than they are now, so it was a bit intimidating to go there and paint, but I fell in love with graffiti from the very start. It had a magical component to it, I’d never tried a spraycan before and it was exciting. I found it so incredibly fun and difficult at the same time, almost like a game I could never beat.
I have to say that for me what I found even more intriguing and beautiful were the structure of letters. In every artistic discipline figurative style is common, but I´d never seen letters done so intricate and colorful before. It took me a while to understand the inner language of what it meant to do wildstyle lettering, and a lot more to make it a style of my own. From that moment, and consistently for the last 30 years, I’ve been painting in many festivals, not only in my city but across Europe, and also in the North and South America.
I like walls with souls. I like imperfect walls, and abandoned places that can be given a new life.
About my work and what makes me different is that I’m one of the oldest female active graffiti writers,I continue researching and developing my style, looking for new ways to progress. I am passionate about letters and color. I seek my way beyond fashion, or trends without refusing to try new ideas. I have always loved the graffiti language and it fascinates me to be able to write intricate colored letters and not pretend they are to be more than they are.
In general, I do not like to offer a message because I belong to that generation that believed that the message is the style. In a way, I am the message, me and the way I live. I like that the letters are difficult for the average person to comprehend, I like that the viewer does not have it easy, you have to go a little further to appreciate the beauty in a composition with only letters. It is halfway to the appreciation of the abstract and that is what I am looking for.