Mónica Ferreras de la Maza

(b. 1965, Dominican Republic) has worked for 20 years as a visual artist across a range of media including painting, drawing, installation and video art. Her work focuses on the contemporary urban culture of the Dominican Republic and the youth of marginalized neighborhoods in Santo Domingo. Manifested in her art is the artist’s exploration of the psychological and sociological perspectives on the state of her surroundings, raising questions about social class, the influence of tradition and consumerism on local and, ultimately, universal levels.

Mónica Ferreras de la Maza has presented solo exhibitions in galleries and cultural centers in the Dominican Republic and in the United States. Group shows across the United States, Europe, Latin and South America include: Inside and Out: Recent Trends in the Arts of the Dominican Republic, BID Cultural Center, Washington, DC, USA; Entre-Veus, Foundation Clement, Martinica; Latitudes – Exposition D’ Art Contemporain, Centro ITAU Cultural, Sao Paulo, Brasil; Island Nation, Rhode Island School of Design Museum, Providence, RI, USA; VideoAkt, GlogauAIR Art Center, Berlin, Germany; Cambridge Multicultural Center, Cambridge, MA, USA; ETTER COLUMBUS.COM, Arte Contemporáneo de Haití y Rep. Com; Kunstnernes Hus, Oslo; Politica de la diferencia: Arte Ibero-Americano de fin de Siglo, Centro de convenciones Pernabumco, Recife, Brasil; and Museo de arte Latinoamericano de Buenos Aires, Argentina

Artistic Statement

Mónica Ferreras De la Maza’s body of work has an autobiographical component that captures periods of growth and anxiety in her own chronology. Some symbols and style elements recur often, like the spiral, the maze, and also the obsessive use of points, circles, and lines. Ferreras constructs her paintings by building layer upon layer of form and color. Parallel to her painting, she produces video art and installation based on daily social observation.

Mónica Ferreras de la Maza was in residency at ISCP, New York from September – November 2013.

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