“ Maïs works towards the outside. She lets her sensations and her ideas flow from the inner movement that shakes her for having tried to go onward the enamel and try to arrive at the sculpture without abandoning the fire. Mercè Ibarz, diptych Maïs de Galeria Magdalena Baixeras, 1993

Up the stairs. Up. Rebuild the house, houses of a thousand faces, memories, opportunities, gift houses, surprises, hopes, pains, blood. Stairs that pierce through the ceilings and begin the ascent towards new horizons. At the summit, ships appear, the house morphs into a carriage. Ships that sail up and up the stairs... The struggles have borne fruit, everything is ready to start a new life. We still see the stones, the skeletons of the ships that speak to us of hardships, but we sense that now the ships, like flying carpets, will take us to fertile, mysterious lands, full of treasures and radiant magic. Marta Darder Fragment from "A Sea of Stones, a Sky of Stars." Maïs, the Magic of Living Lecrop Magazine

Artemisia Gentileschi, Frida Kahlo, Lady Gregory, Camille Claudel, Virginia Woolf, Marina Tsvetaeva, Louise Bourgeois…The names stenciled onto iron signposts and pitched in the landscape on Sherkin and Heir Islands,off West Cork.They accurately point in the direction of their homelands,…Singularly they mark women who have opened routes for us to follow…Her “destinations” operate as ”deferred presences” and the voyage she puts us on require new eyes.

“... Maïs touches you inside with her woman universe and the large command of the language that she has chosen, from where she goes deeply into a social criticism which induces to reflection.” Àngels Garcia, ”Cambres secretes”, On diseño 246, p72, 2003

Escales invite us to reflect on ascent and transformation, using stairs as a symbol of overcoming and transition toward new horizons. Maïs uses classic materials such as iron, enamel, and wood to create a work that, although it doesn't employ virtual techniques, suggests their presence. In her art, she structures a world of her own, where the tangible becomes real. Through her contemporary sensitivity, she aims for iron and art to merge, bringing to life a creation that reflects the intersection of the traditional and the modern, making her artistic vision come to life in reality. Arnau Puig

Crits In your hands, I see the silence, the word and the scream. Jordi Carrió, fragment from “Hands at light”, Maïs l’obra absent, p19, 2002)

Escuartejada Blood red. Iron thread. Knit the present. Stitch iron, solder cloth. Maïs, weave with iron thread. Maïs weld with red cloth. The magic of playing with contradictions and surviving. To live openly and get up stronger when the beam cracks. To be reborn to fly further. The thread, the vein, the way, the red, the blood, the life. Marta Darder

MIRROR AND ILLUSION The sensuality of some organic forms and an analytic depuration, define the language of Maïs. Objects, geometries, volumes, penetrations, analogies… That, through the epidemic sense of the materials, melt down the symbol with the invention, the pleats with the fissures, the organic world with the archaic connotations, going from de virtual sense to the evidence, from the mirror to the illusion, from the emotive impact to the fiction atmosphere where it is possible to dive. Glòria Bosch Mir (Maïs, Gallery Ambit, Barcelona 1986).