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My practice begins in detachment, a condition shaped by uprooting, cultural hybridity, and continuous adaptation across languages and geographies. This lived experience finds a visual and material counterpart in my work, where traditional supports disappear and paint becomes autonomous matter—peeled, folded, and reattached—occupying a liminal space between two and three dimensions.

Since 2009, I have developed a body of work where traditional supports—canvas, paper, wood—are removed entirely. The paint itself becomes autonomous matter, poured, brushed, or dripped, then peeled away to exist independently in space. This act of separation functions as both method and metaphor: a formal gesture that reveals paint’s material agency and evokes the instability of identity in displacement. The resulting surfaces fold and warp, embodying tension and resilience, presence and absence, surface and volume.

Like my own identity, the work inhabits an unstable space—fluid, fragmented, yet resilient—negotiating between two and three dimensions, between surface and volume. In this tension, I explore how the materiality of paint can embody the experience of cultural displacement: a body in transit, negotiating belonging through continuous processes of loss and reconfiguration. Ultimately, this practice is a visual and emotional articulation of uprooting: a language of detachment that embraces vulnerability, challenges permanence, and opens space for new forms of belonging.

My work unfolds where painting drifts freely between gesture, absence and form.

Vicenta Valenciano