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.
This self-portrait, shaped like a heart and bearing the words “My heart is hurting because of not using it…,” reveals the tension between Ana’s art and her life. While her work openly expressed her sexuality, in reality she felt too timid to approach women. The piece captures her sense of pain and stagnation—her heart from not being filled with real love.
2016. London. Acrylic marker on paper. 29,7x42cm.
'My heart is hurting because of not using it...'
This portrait depicts a woman Ana loved so intensely that everyone else seemed to vanish. It conveys the overwhelming force of love, desire, and obsession—a passion so consuming it left her breathless and aching.
2016. London. Acrylic marker on paper. 29,7x42cm.
'I desire you as fuck!'
2020. London. Acrylic marker on grey paper. 42x59,4cm.
'Destroy the heretopatriarchy.'
This piece reimagines the classic fairytale of a princess trapped in a castle awaiting rescue—only here, it becomes a lesbian tale. The castle, shaped like a penis, symbolizes patriarchy. In the window, the princess cries out to be freed from heterosexuality. At the bottom stands Ana, arriving not as a heroic prince but as her true self—small, vulnerable, yet determined. The work challenges the notion that women need men to save them.
I look out the window and I see the same girl from yesterday playing with the flowers of my garden...
2020. London. Acrylic paint and acrylic marker on greyboard. 80x120cm.
Created during the pandemic, this work reflects longing and imagined love. From her window, the artist could see a distant garden—beautiful yet unreachable. She envisioned a woman there, someone she wished to behold but couldn’t, as everyone remained confined indoors.
'There will be a day that every single girl will like to fuck me.'
2014. Barcelona. Acrylic paint and acrylic marker on cardboard. 175x150cm.
This was one of Ana’s first big paintings, created during her early days as an artist in Barcelona. Back then, she felt that affection from women depended on her achieving artistic success rather than being valued for her true self. Her heart-shaped portrait is encircled by female faces clinging to her, their gazes filled with obsession. The title is a daring promise to herself: that someday, women would long for her as well.
'Curiosity becomes a heavy load, too heavy to hold, will force you to be cold.....'
2014. Barcelona. Acrylic paint and acrylic marker on wood and cardboard.
This piece was inspired by Arctic Monkeys’ song "Do Me a Favour" It talks about curiosity, shyness, and desire — dying from wanting to know what it would feel like to be intimate with a woman. It captures her first feelings of queer longing.
2020. London. Acrylic paint, acrylic marker and pencil colour on greyboard. 120x80cm.
'The girl and the monster!!!!'
This painting captures Ana’s fascination with powerful, beautiful women. She portrays herself as a devil—driven by obsession and desire, yet approaching women with a hesitant tenderness. The work contrasts how she treats herself versus her muses: offering herself little love, while giving them boundless adoration.
Funky T-shirts 4: I shouldn't have been so hard on myself
2024. London. Acrylic marker, watercolour, pencil and collage on paper. 28x25cm.
2024. London. Acrylic marker, watercolour and collage on paper. 28x25cm.
Funky T-shirts 3: One life, many traumas
2024. Barcelona. Acrylic marker and watercolour on paper. 29,7x42cm.
Should I stay or should I go?!?!
A reinterpretation of Munch’s Melancholy. Created after the death of the artist’s grandfather, the work conveys grief, displacement, and the unresolved pull between London and Spain.
2023. London. Drawing and acrylic marker on paper. 50x65cm.
I don't experience things but dive into them.
It is a triptych that visualises trauma as growth fed by neglect and obsession. The works combine drawing and text, forming a visual poem about immersion, repetition, and the act of sustaining pain.
2023. London. Drawing and acrylic marker on paper. 50x65cm.
I don’t walk the dog but my brain.
2023. London. Drawing and acrylic marker on paper. 50x65cm.
I don't water my plants but my traumas.'
2020. London. Acrylic paint and acrylic marker on paper. 65x100cm.
I am the girl who suffers.
A self-portrait rooted in poetry and created during the pandemic. Smoking, drinking, and ill health are intertwined to show the inseparability of physical and mental decline.
2020. London. Acrylic paint and acrylic marker on paper. 65x100cm.
I am the girl who suffers.
A self-portrait rooted in poetry and created during the pandemic. Smoking, drinking, and ill health are intertwined to show the inseparability of physical and mental decline.
I hate myself and want to die, but... One baby to another says: -I'm lucky to have met you!!!
2016. Barcelona. Acrylic paint and acrylic marker on canvas.
Referencing Nirvana, the painting juxtaposes despair with companionship. The figures of Kurt Cobain and the artist appear together, suspended between melancholy and connection.