Elizabeth Nepomucena
Cempoala, 1991
Elizabeth Nepomucena has a degree in fine arts from the Universidad Autónoma de Baja California, Tijuana campus. Her work has been selected to participate in the First Mexico-Thailand Printmaking Exchange (Thailand, 2019) and in the First Latin American Miniprint Competition (Oaxaca, 2019). She has been a beneficiary of the Stimulus Program for Artistic Creation and Development of Baja California (2024). His most recent exhibition is entitled Imagery to build the intimate at the Centro Cultural Tijuana (Tijuana, 2025). He was also part of the group exhibition Poetics of the object at the Centro Estatal de las Artes (Tecate, 2025). She has worked as a facilitator in various workshops on printmaking. Her artistic work is developed mainly in the disciplines of graphics, painting and installation. She lives and works from the city of Tijuana.
statement
My artistic production is situated at the crossroads between visual practice and identity reflection, the latter understood as a permanent construction of a permanent construction. reflection, the latter understood as a permanent construction of identity. transformation. As a migrant artist, originally from Veracruz, with a background in my professional career in Tijuana, Baja California, my trajectory has been marked by the geographical and symbolic alternation between the south and the north of the country. This transit has constantly shaped a critical view of territory, displacement and the notion of belonging. displacement and the notion of belonging.
The axis of my artistic research can be read as an archaeology of identity, in which each work functions as a record of an experience. identity, in which each work functions as a record of an experience that is border. From media such as graphics, drawing, painting and sculpture, development of a visual language that articulates the autobiographical with the collective, and the sensitive to the political. The narrative figuration that I use allows me to interweave landscapes, memories and bodies in relation to issues such as migration, gender, social structures and the relationship with the natural environment. Thus, the printed image becomes a tool for mapping emotions, cultural tensions and translocal ties. and translocal links.
In this framework, my work proposes a critical revision of identity from the perspective of visual practice, understood as a situated, mobile and relational process visual practice, understood as a situated, mobile and relational process, where art acts as a space for thinking and as a space of thought and resistance to the hegemonic narratives of place and origin. hegemonic narratives of place and origin.
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