ABOUT
BIO
hijadelacoca* is a Peruvian visual artist holding a Bachelor’s degree in Fine and Visual Arts, with a specialization in Textile Conservation and Restoration from the National Autonomous University of Fine Arts of Peru.
She has received grants and participated in artist residencies such as Women Sustain the Pandemic (BicaPlataforma, Brazil, 2022) and FAR Residency (Argentina, 2025). Her work has been exhibited nationally in galleries such as Fisura and Cholo Terco, and internationally in exhibitions including MyLoveisYourLove at the Everywoman Biennial (London, 2021) and Entre el pretexto y el post texto at Arte Actual FLACSO (Ecuador, 2024). Her work has also been featured on 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). She was a finalist for the National Contemporary Art Prize of the Instituto Cultural Peruano Norteamericano (ICPNA), exhibited at Espacio ICPNA San Miguel (Peru, 2025).
Her practice also includes facilitating workshops and developing collective processes in Peru and abroad. Since 2018, she has worked as a feminist activist and performance organizer in public spaces as part of the collective Collera Red, seeking to generate political impact and promote denunciation as a driver of social change in Peruvian society.
hijadelacoca* is a Peruvian visual artist holding a Bachelor’s degree in Fine and Visual Arts, with a specialization in Textile Conservation and Restoration from the National Autonomous University of Fine Arts of Peru.
She has received grants and participated in artist residencies such as Women Sustain the Pandemic (BicaPlataforma, Brazil, 2022) and FAR Residency (Argentina, 2025). Her work has been exhibited nationally in galleries such as Fisura and Cholo Terco, and internationally in exhibitions including MyLoveisYourLove at the Everywoman Biennial (London, 2021) and Entre el pretexto y el post texto at Arte Actual FLACSO (Ecuador, 2024). Her work has also been featured on 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). She was a finalist for the National Contemporary Art Prize of the Instituto Cultural Peruano Norteamericano (ICPNA), exhibited at Espacio ICPNA San Miguel (Peru, 2025).
Her practice also includes facilitating workshops and developing collective processes in Peru and abroad. Since 2018, she has worked as a feminist activist and performance organizer in public spaces as part of the collective Collera Red, seeking to generate political impact and promote denunciation as a driver of social change in Peruvian society.
STATEMENT
I’m María Lucianna Aguilar (hijadelacoca*), a Peruvian artist. My practice moves between textile processes, drawing, and archival research, examining how bodies are read, classified, and made visible through institutional systems. I am particularly interested in medical imaging—MRIs, X-rays, and sonograms—as visual languages that claim objectivity while producing distance from lived experience.
I work with these images as unstable archives rather than transparent documents. Through stitching, layering, and repetition, I translate clinical imagery into tactile forms that interrupt diagnostic clarity and expose its limits. Textile becomes a method of interference: slow, accumulative, and prone to error.
Rather than approaching the body as a site of repair or resolution, my work focuses on what remains unreadable, excessive, or unresolved within systems of diagnosis and classification. I understand my practice as an open investigation that remains provisional and unresolved.
I’m María Lucianna Aguilar (hijadelacoca*), a Peruvian artist. My practice moves between textile processes, drawing, and archival research, examining how bodies are read, classified, and made visible through institutional systems. I am particularly interested in medical imaging—MRIs, X-rays, and sonograms—as visual languages that claim objectivity while producing distance from lived experience.
I work with these images as unstable archives rather than transparent documents. Through stitching, layering, and repetition, I translate clinical imagery into tactile forms that interrupt diagnostic clarity and expose its limits. Textile becomes a method of interference: slow, accumulative, and prone to error.
Rather than approaching the body as a site of repair or resolution, my work focuses on what remains unreadable, excessive, or unresolved within systems of diagnosis and classification. I understand my practice as an open investigation that remains provisional and unresolved.