ABOUT
BIO
hijadelacoca*, is a Peruvian artist holding a Bachelor's degree in Visual Arts with a specialization in Textile Conservation and Restoration from the National Autonomous University of Fine Arts of Peru.
She has been awarded artistic grants and has participated in international residencies such as Women Sustain the Pandemic > hijadelacoca, organized by BicaPlataforma (Brazil, 2022), and the FAR Residency (Argentina, 2025). She is also a Finalist of the ICPNA Contemporary Art Award (Peru, 2025).
Her work has been exhibited nationally in galleries such as Fisura and Cholo Terco, and internationally in shows including MyLoveisYourLove at the Everywoman Biennial (London, 2021) and Entre el pretexto y el post texto at Arte Actual Flacso (Ecuador, 2024). Her artistic contributions have been featured in platforms such as Best of PhotoVogue(Italy, 2022), MAMI Musea by Coding Rights (USA, 2019), and (In)justice Reproductive at MSH PARIS NORD (France, 2024).
Her practice also involves facilitating workshops and developing collective creative processes in Peru and abroad. Since 2018, she has been an active feminist organizer and performance facilitator within the collective Collera Red, generating political impact in public spaces and promoting denunciation as a catalyst for social change in Peru.
hijadelacoca*, is a Peruvian artist holding a Bachelor's degree in Visual Arts with a specialization in Textile Conservation and Restoration from the National Autonomous University of Fine Arts of Peru.
She has been awarded artistic grants and has participated in international residencies such as Women Sustain the Pandemic > hijadelacoca, organized by BicaPlataforma (Brazil, 2022), and the FAR Residency (Argentina, 2025). She is also a Finalist of the ICPNA Contemporary Art Award (Peru, 2025).
Her work has been exhibited nationally in galleries such as Fisura and Cholo Terco, and internationally in shows including MyLoveisYourLove at the Everywoman Biennial (London, 2021) and Entre el pretexto y el post texto at Arte Actual Flacso (Ecuador, 2024). Her artistic contributions have been featured in platforms such as Best of PhotoVogue(Italy, 2022), MAMI Musea by Coding Rights (USA, 2019), and (In)justice Reproductive at MSH PARIS NORD (France, 2024).
Her practice also involves facilitating workshops and developing collective creative processes in Peru and abroad. Since 2018, she has been an active feminist organizer and performance facilitator within the collective Collera Red, generating political impact in public spaces and promoting denunciation as a catalyst for social change in Peru.
STATEMENT
I’m María Lucianna Aguilar (hijadelacoca*), a Peruvian artist from East Lima. My practice inhabits the intersection of drawing, sewing, and political memory. I create sculptural textiles and stitched graphics that respond to the violences—visible and invisible—exerted upon women’s bodies in Latin America. Sewing is not decoration: it is protest, method, and memory.
Through embroidery, I translate wounds, stories, and silences. My work is shaped by research into medical imagery—MRIs, X-rays, sonograms—where I read the body as archive and battlefield. I appropriate these clinical documents and reinterpret them through thread, resisting the institutional gaze and recovering a sensory, affective language. I see myself as both artist and compiler, working from within the fractures of medical and social systems.
My textiles speak from and to the South. They are born from contexts of inequality, extractivism, and systemic abandonment. Each piece maps a wounded terrain, weaving together threads of feminist resistance, ancestral knowledge, and embodied healing.
Influenced by Latin American thinkers and textile genealogies, I understand fabric as a site of critical reflection and reparation. I often work collectively through workshops, stitching spaces for others to tell their own stories. What I make are tactile documents, intimate cartographies, and political testimonies.
I’m María Lucianna Aguilar (hijadelacoca*), a Peruvian artist from East Lima. My practice inhabits the intersection of drawing, sewing, and political memory. I create sculptural textiles and stitched graphics that respond to the violences—visible and invisible—exerted upon women’s bodies in Latin America. Sewing is not decoration: it is protest, method, and memory.
Through embroidery, I translate wounds, stories, and silences. My work is shaped by research into medical imagery—MRIs, X-rays, sonograms—where I read the body as archive and battlefield. I appropriate these clinical documents and reinterpret them through thread, resisting the institutional gaze and recovering a sensory, affective language. I see myself as both artist and compiler, working from within the fractures of medical and social systems.
My textiles speak from and to the South. They are born from contexts of inequality, extractivism, and systemic abandonment. Each piece maps a wounded terrain, weaving together threads of feminist resistance, ancestral knowledge, and embodied healing.
Influenced by Latin American thinkers and textile genealogies, I understand fabric as a site of critical reflection and reparation. I often work collectively through workshops, stitching spaces for others to tell their own stories. What I make are tactile documents, intimate cartographies, and political testimonies.