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 grants and participated in artist residencies such as Women Sustain the Pandemic > hijadelacoca, organized by BicaPlataforma (Brazil, 2022), and the FAR Residency (Argentina, 2025). Her work has been exhibited nationally in galleries like Fisura and Cholo Terco, and internationally in exhibitions including MyLoveisYourLove at the Everywoman Biennial (London, 2021), Entre el pretexto y el post texto at Arte Actual Flacso (Ecuador, 2024) and (In)justice Reproductive MSH Paris Nord (France, 2024).
Her photographic contributions have been featured on platforms such as Best of PhotoVogue (Italy, 2022) and MAMI Museaby Coding Rights (USA, 2019). Her practice also includes facilitating workshops both in Peru and abroad. Since 2018, she has been working as a feminist activist and manager of performanes in public spaces within the collective Collera Red. Where she seeks to generate political impact and promote denunciation as an engine of social change in Peruvian society.
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 grants and participated in artist residencies such as Women Sustain the Pandemic > hijadelacoca, organized by BicaPlataforma (Brazil, 2022), and the FAR Residency (Argentina, 2025). Her work has been exhibited nationally in galleries like Fisura and Cholo Terco, and internationally in exhibitions including MyLoveisYourLove at the Everywoman Biennial (London, 2021), Entre el pretexto y el post texto at Arte Actual Flacso (Ecuador, 2024) and (In)justice Reproductive MSH Paris Nord (France, 2024).
Her photographic contributions have been featured on platforms such as Best of PhotoVogue (Italy, 2022) and MAMI Museaby Coding Rights (USA, 2019). Her practice also includes facilitating workshops both in Peru and abroad. Since 2018, she has been working as a feminist activist and manager of performanes in public spaces within the collective Collera Red. Where she seeks to generate political impact and promote denunciation as an engine of social change in Peruvian society.
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.