Olympic 1863-2018 (Entre la Puta y la Santa) reinterprets Manet's Olympia painting by complicating the roles race, gender and class play in the commodification and reproduction of women's bodies. The original painting depicts a prostitute in the foreground: a glowing, white body and dark background obscure her African servant who bears a supportive bouquet of fertility flowers. The photograph of the nude artist in a hospital with overexposed storm windows and shadowed foreground; reimagines the classical style venus painting of the sultry, morgue-white courtesan as a condemned “puta” on the precipice of labor.

The self-portrait with partner bearing a birthing support ball depicts the artist dilating 6 cm between contractions during labor, while a tropical storm flickers power off. Documenting conflicting man made and mother nature crisis, the work bears labor pains and witness to the impossible odds melanated pregnant people face in a geopolitical state with the highest rates of infant and maternal mortality in the US.

Reclaiming her own image from public consumption as a middle-aged, latinx, Tinkuy brown woman and "anchor baby"; the artist gazes directly at the viewer recalling the castas depictions of colonial America that impact mixed race immigrant pregnant people today.

The Linea Negra series photographs (2008-present) document the inception of gender, power, and race structures from slogans, slang, maxims, and "old wives tales" to internalized institutional violence. The works celebrate the hemispheric melanin line appearing during gestation (most prominent in women of color) as a biological pieta; the first biographical mark on the procreative body and the first sign of our creative humanity