Asesinado por el cielo [Killed by the sky]

2025, London, 24,8 x 34,6 cm, acrylic marker and collage on paper

In this artwork, Ana explores the phrase "murdered by the sky," Federico Garcia Lorca Confusión, using collage to express its powerful meaning visually. She includes a skeleton-like figure taken from a book about Basquiat’s work, resembling a devil that symbolises danger coming from above. The artwork also references Goya's paintings, emphasising a sense of fear and threat. Ana transforms poetic ideas into visuals, showing how the sky can feel oppressive and frightening. 

Y un hormiguero de gente anda por mi corazón [And an anthill of people walks around my heart]

2024, Barcelona, 24,8 x 34,6 cm, acrylic marker and on paper

In this artwork, Ana draws inspiration from a Spanish poet, Federico Garcia Lorca Confusión, using a quote from one of his poems, vividly expressing the bustling emotional complexity within her. Evoking the metaphor of an anthill as a symbol for constant activity, the piece reflects the multitude of connections Ana simultaneously holds—friends, lovers, and family interwoven within her heart and mind. Set against the vibrant energy of London, the painting visualises Ana's non-monogamous nature, representing the simultaneous presence and impact of multiple intimate relationships. It is an honest exploration of love’s abundant forms and the relentless emotional busyness that shapes her inner world.

Sober Sylvia Von Harden

2024, Barcelona, 20,8 x 34,6 cm, acrylic marker and pencil colour on mixed media paper

In this compelling portrait, Ana revisits the image of journalist Sylvia von Harden, drawn by a magnetic fascination with her unique beauty. The artwork represents Ana’s second exploration of this subject, driven by an enduring attraction and intrigue. Through expressive visual poetry, Ana reconstructs Sylvia’s presence, capturing her complexity and allure with emotional intensity. The portrait resonates with Ana's characteristic collision of desire and vulnerability, revealing an obsessive admiration and intimate connection. 

I’m not okay

2025, Barcelona, 20,8 x 34,6 cm, bic pen and acrylic marker on paper

In this deeply personal artwork, Ana offers her own heartfelt version of Van Gogh’s "Sorrowing Old Man (At Eternity’s Gate)." Inspired by Van Gogh's honest portrayal of sadness, Ana paints a figure overwhelmed by feelings of despair, loneliness, and frustration. The painting openly expresses the struggle to say, "I'm not okay," capturing the emotional distance and barriers we sometimes build around ourselves. Through this artwork, Ana shares an authentic and relatable moment of human vulnerability, making visible the inner pain that often stays hidden.

2024, Barcelona, 50 x 65 cm, acrylic marker and charcoal on fluorescent pink paper

What are you hiding from?

This painting is inspired by a photograph taken by Vivian Maier, a renowned street photographer known for her candid images of urban life. The artist was drawn to Maier's photo of a man hiding on a street, using it as a starting point to explore themes of concealment and introspection. Through expressive charcoal lines and layered textures, the artwork delves into the emotions of vulnerability and self-reflection, considering the fears and truths that often remain hidden.

2025, London, 21 x 29,7 cm, acrylic marker, pencil colour and watercolour on graph paper

Tears on my pillow

In this artwork, Ana visually interprets the poetic phrase "There is a pillow painting my heart," inspired by The Little Anthony from 1958. She depicts an open pillow filled with a sea of tears, using bright and cheerful colours to explore the dual nature of crying—tears can flow from happiness as well as sadness. Unlike her more direct explorations of sexuality, this piece invites personal interpretation, reflecting Ana's desire for viewers to find their own meaning.

A group of women celebrating that I’m still single

2024, Barcelona, 20,8 x 34,6 cm, acrylic marker and pencil colour

In this artwork, Ana draws inspiration from Matisse’s "La Danse," playfully reimagining its joyous depiction of dancing women. Reflecting on themes of celebration and community, Ana humorously portrays a group as lesbian women embracing their singleness. The painting gently satirises societal expectations—questioning whether anyone truly celebrates being alone. With vibrant energy and emotional nuance, the work captures a spirit of playful defiance and camaraderie, affirming independence and collective identity through a queer lens. Ana’s interpretation is both a joyful homage and a candid exploration of solitude, companionship, and the complexities of contemporary womanhood.

‘We’d batter up the cloudy highway
WHERE ANGELS OF ANXIETY
careen through the trees
and scream out of the engine.

2024, London/Barcelona, 20,8 x 34,6 cm, acrylic marker and watercolour on paper

In this evocative artwork, Ana visualises the "angels of anxiety," inspired by Howl by Allen Ginsberg’s poetry. Imagining angels marked by emotional turmoil, Ana portrays these beings as figures overwhelmed by an unmistakable sadness, embodying the restless agitation and quiet despair inherent in anxiety. 

Son pájaros sin alas perdidos entre hierbas! [They are wingless birds lost in the grass!]

2024, London, 20,8 x 34,6 cm, acrylic marker and watercolour on paper

In the ‘Son pájaros sin alas perdidos entre hierbas!’ artwork, Ana draws inspiration from the evocative line of a Spanish poet , Mañana’ : "They are birds without wings in between grass." Deeply moved by its haunting beauty and underlying darkness, Ana explores themes of freedom lost and vulnerability. Birds, naturally symbols of freedom and movement, appear wingless—trapped and immobilised. The crosses within the composition reference death, intensifying the feeling of loss and constraint.