ABOUT
BIO
María Lucianna Aguilar (hijadelacoca) is a Peruvian artist based in Lima whose practice moves between textile methodologies, archival research, installation, drawing, and digital processes. She holds a Bachelor of Fine Arts with a specialization in Conservation and Restoration of Cultural Heritage from the National Autonomous University of Fine Arts of Peru (UNABAP).
Her work has been exhibited in Peru and internationally, including at the Every Woman Biennial (London, 2021), Arte Actual FLACSO (Quito, 2024), MSH Paris Nord (France, 2024), and the ICPNA Contemporary Art Prize (Lima, 2025). She has participated in residencies including BicaPlataforma (Brazil, 2021) and FAR Art Residency (Buenos Aires, 2025). In 2026, she was selected as a semifinalist for the XVII National Painting Competition organized by the Central Reserve Bank of Peru (BCRP).
Alongside her artistic practice, hijadelacoca facilitates textile workshops and public programs exploring embroidery as a methodology for artistic research and collective knowledge production. Since 2018, she has been a member of Collera Red, a feminist collective based in Lima, Peru.
María Lucianna Aguilar (hijadelacoca) is a Peruvian artist based in Lima whose practice moves between textile methodologies, archival research, installation, drawing, and digital processes. She holds a Bachelor of Fine Arts with a specialization in Conservation and Restoration of Cultural Heritage from the National Autonomous University of Fine Arts of Peru (UNABAP).
Her work has been exhibited in Peru and internationally, including at the Every Woman Biennial (London, 2021), Arte Actual FLACSO (Quito, 2024), MSH Paris Nord (France, 2024), and the ICPNA Contemporary Art Prize (Lima, 2025). She has participated in residencies including BicaPlataforma (Brazil, 2021) and FAR Art Residency (Buenos Aires, 2025). In 2026, she was selected as a semifinalist for the XVII National Painting Competition organized by the Central Reserve Bank of Peru (BCRP).
Alongside her artistic practice, hijadelacoca facilitates textile workshops and public programs exploring embroidery as a methodology for artistic research and collective knowledge production. Since 2018, she has been a member of Collera Red, a feminist collective based in Lima, Peru.
STATEMENT
At the core of my practice are systems of inscription—the documents, images, objects, and technologies through which institutions materialize authority, define identities, assign value, regulate bodies, delimit territories, and construct collective memory. These include medical and forensic records, bureaucratic documents, passports, maps, banknotes, legal texts, and digital code.
Growing up in the periphery of Lima within a female-centered environment shaped my understanding of care, intimacy, and collective experience. Histories of illness, reproductive violence, migration, and my paternal Aymara heritage from the Peruvian Altiplano continue to shape how I think about memory, language, territory, and belonging.
I approach textile not only as a material or technique, but as a methodology. Through processes of stitching, layering, repetition, and material experimentation, I translate systems of inscription into textile forms, shifting the ways these materials are encountered, interpreted, and experienced.
My work renders visible the material and institutional structures through which knowledge, identities, values, and histories are produced, exploring how these systems shape collective memory and our understanding of the world.
At the core of my practice are systems of inscription—the documents, images, objects, and technologies through which institutions materialize authority, define identities, assign value, regulate bodies, delimit territories, and construct collective memory. These include medical and forensic records, bureaucratic documents, passports, maps, banknotes, legal texts, and digital code.
Growing up in the periphery of Lima within a female-centered environment shaped my understanding of care, intimacy, and collective experience. Histories of illness, reproductive violence, migration, and my paternal Aymara heritage from the Peruvian Altiplano continue to shape how I think about memory, language, territory, and belonging.
I approach textile not only as a material or technique, but as a methodology. Through processes of stitching, layering, repetition, and material experimentation, I translate systems of inscription into textile forms, shifting the ways these materials are encountered, interpreted, and experienced.
My work renders visible the material and institutional structures through which knowledge, identities, values, and histories are produced, exploring how these systems shape collective memory and our understanding of the world.