Extending the legacy of their predecessors, they echo Agnes Martin’s meditative systems, Joan Mitchell’s emotional intensity, and even the bodily, intuitive, and process-driven approaches to painting of Lee Krasner and Helen Frankenthaler. Their work also resonates with Ana Mendieta’s spiritually infused and materially grounded practice, where artistic production becomes both medium and ritual. Thus shedding traditional associations with detachment and crafting an abstraction that listens, that decomposes and recomposes, and that holds space for the unknowable. Embracing the messiness of becoming, their work speaks to a quiet, radical power –where painting is not simply image-making, but a ritual of encounter between self and world, spirit and substance, feminine force and the elemental.

Crafting paintings that weave together femininity, spirituality, and an intimate connection with nature, Juana Subercaseaux’s pieces seem to exist in a state of constant transition. Featuring fluid abstract forms and organic symbols that bridge the tangible and the imagined, she evokes the mystical, fleeting, and enigmatic presence of the natural world on canvas. Exploring the subjective and imaginal, she blurs the boundaries between perception and reality, inviting us into landscapes permeated by a sense of awe at that which lies beyond the visible. Similarly, Isabella Russo Siqueira’s inherently psychological abstract paintings evolve spontaneously and respond to both her inner world and surroundings. Celebrating an innate connection with nature, her pieces begin with the natural dyeing of her substrates, which then accrue organic traces from the ground upon which she works them. Relating to the body through the unfolding painterly gestures within them, Russo’s paintings trace an alternative cartography of the ways in which the body and the world relate to one another. Emerging from layered, process-driven encounters with natural substances —such as hibiscus, baking powder, lime, cochineal, etc.— applied through rubbing, staining, and fermenting directly onto substrates, Meryl Yana creates elemental abstract works that resonate with both spiritual ritual and material intimacy. Yana’s anthropologic and bodily engagement with pigment imbues the surfaces with palpable traces of ritualistic communion and memory, thus turning her paintings into testaments to the unpredictable alchemical interactions of matter, body, and time.

Allowing her paintings to emerge through rhythm, repetition, and revision, Mariana Paniagua embraces an intuitive and non-hierarchical process –with layers of matter accumulating on top of each other to create organic forms. Pigment, wax, oil, and gesture become markers of time, presence, absence, and the histories embedded within material marks. Engaging with the concept of the “metabolized landscape”, Paniagua’s works feature a process of material sedimentation that evokes intimate, uncanny terrains that fuse memory, bodily experience, and nature’s ineffable forces. In a similar vein, Andrea Bores Chemor constructs abstract landscapes using organic materials like ink, charcoal, indigo, and water. Letting these materials self-organize during drying to form pictorial structures, she reimagines the landscape through the self-same structures that compose it –visually tracing dynamic flows and turbulence. Her process is both alchemical and systems-based, revealing the seen and unseen of natural patterns through material agency. Exploring the interplay of light and darkness through layered strokes, Sand Leal creates compositions that oscillate between surface and depth, intentionally blurring the boundaries between painting, drawing, and writing. Privileging the chromatic presence of line as a spatial and organizational force, her abstract paintings dissolve boundaries and treat canvas not as a static field but as a dynamic site where light and form continually emerge and recede.

While approaching painting from distinct cultural and material perspectives, Subercaseaux, Yana, Russo Siqueira, Bores Chemor, Paniagua, and Leal are united by a shared commitment to painting as a sensorial and transformative process. Their work transcends formal abstraction, engaging with the elemental –earth, body, texture, and matter– as both subject and medium. Through layered surfaces, organic rhythms, and gestural intuitions, they explore the porous boundaries between the human and the nonhuman, between internal states and the natural world. Across their practices, painting becomes an alchemical space: not just for visual expression, but for metabolizing experience, embodying cycles, and reimagining the feminine as rooted, expansive, and deeply connected to the living matter of the earth. These artists do not seek to represent nature, but to work with it: blending pigment like soil, layering form like sediment, and allowing intuition to guide structure —with each canvas turning into a record of transformation and emergence. Together, these artists propose a painting practice that is alive and in dialogue with the earth, the body, and the invisible forces that move through both. Thus reclaiming abstraction as a space of sensing, feeling, and transforming.