The title of the work comes from the book La Margarita by Alfredo Boulton, which tells the story of pearl exploitation along the Venezuelan Caribbean coast through images and prose. This chapter begins with a photograph of a net, also known as a chinchorro, around which the lives of those who harvest shells revolve. The obsessive care given to this net sustains an entire community that gathers along the shore. Margarita is also the name shared by the artist’s grandmother, mother, and herself—a name that means "pearl" and serves to trace a connection between broader history and personal narrative, linking her to the Venezuelan landscape.

Las Faenas del Mar features a chainmail mesh, built ring by ring by the artist, simulating a fishing net that drags symbolic elements to shore. These elements relate to her recent research on the material connection between the peninsula in Venezuela where she grew up and Santo Domingo. Her migratory experience echoes ancient movements that have long linked these two places. By combining references to the sea with eight photographs from her family archive—brought from Caracas last year—memory and a fictionalized nature are woven together in a gesture of care made possible through her artistic practice. This practice, in turn, positions her as a guardian of her displaced family’s memory.

Enameled aluminum wire, beeswax, pearls, plaster, and inkjet prints

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