Meanwhile, in her artistic and personal quest, Maya Goded finds in ancestral knowledge—everything that has been erased in the grand narrative of modernity—an alternative to the structures of oppression and violence in contemporary societies. In this sense, and from the feminist perspective that guides her practice, the artist reclaims the figures of the witch and the healer as social agents of resistance through care. Despite efforts to demonize the female figure, these women continue to defend their territory, their bodies, and their knowledge from a position that spreads through networks of care and affection.

Through an expressive painting style that resists the impositions of contemporary visual pollution, Lin Calle’s work invites viewers to approach it at different rhythms and tempos, slowing the gaze toward a meditative immersion. Drawing on “shinrin-yoku,” or forest bathing—an experience devoted to perceiving the environment through the senses—the artist conceives her works as an effort to create a space for reflection that sharpens their integral and physical perception.

Finally, the vibrant, dreamlike, and sumptuous universe of Terry Holiday unfolds in an expanded format, materializing central interests in space through volume, texture, and, of course, plenty of sequins and feathers. The continuous expression of the desire for a full life, in opposition to a social reality of marginalization, manifests in Terry Holiday’s work through libertarian creative impulses.