Majosah (Puebla, 1984) is a visual artist with a background in design. She studied Information Design at Universidad de las Américas Puebla, where she acquired research and visual representation tools that continue to inform the way she approaches her artistic practice. She later completed the diploma program Body and Image in Feminist Art at Casa Lamm.
Her work has developed primarily through painting and photography. A turning point came in 2018, when one of her works was published in Flamantes in Spain. From that piece onward, she began working with a freer line and developing a dialogue between the body and painting itself, initiating a visual investigation centered on women.
In 2021, she began Tierra de grandes, a documentary photography and social cartography project that transformed her relationship with individual stories. Encounters with people and their personal narratives led her to understand individual history as a fundamental part of constructing collective memory. The project was materialized as an editorial photography publication.
That same year, she founded Estudio LaMARTINA, where she currently serves as director. Through the studio, she works closely with other artists and develops editorial and curatorial projects as well as artistic experiences, making the studio an important extension of her relationship with contemporary art practice.
She is currently developing Cuerpos públicos, a painting-based investigation in which she has begun to release the figure from its boundaries and move progressively toward abstraction. This process marks a new stage in her work, where the body remains the point of departure while painting gains increasing freedom to construct, interrupt, or allow it to disappear.
ARTIST STATEMENT
The body entered Majosah’s painting when she understood how to tell stories through it. Since then, it has become the starting point of a practice shaped by stories, particularly those rooted in her experience as a woman. The body allows her to speak about what she has lived, but also about what she observes, hears, or recognizes in others. A posture, a hand, or the direction of a gesture can hold enough information to begin a story.
Her work begins with a simple idea. We are what we have lived. Each person carries a unique story, yet no experience exists entirely in isolation. The collective is built from these individual stories, just as an image can be constructed from fragments that may seem incomplete on their own. This relationship between what is personal and what is shared runs throughout her practice.
In her recent work, the figure has begun to lose its boundaries. Majosah works from figuration, allowing lines, stains, and chromatic relationships to progressively disrupt representation. How much of the body can disappear before it stops communicating? This question opens an investigation into abstraction in which she does not seek to erase the figure, but rather to discover how far it can move away from a recognizable form while still carrying a story. In this transition, painting no longer simply accompanies the body but begins to construct meaning alongside it.
Although many of her paintings begin with stories she has heard, encounters, or situations that seem to belong to others, something changes during the process. As she writes, paints, and returns to them, she begins to recognize herself within them. Her practice also becomes a way of discovering herself. She paints stories found outside herself in order to understand something happening within. Perhaps this is why, in the end, the distance between our own stories and those of others is never as great as it first seemed.
CV
Solo Exhibitions
- 2023 Libres. Tierra de grandes. Photography exhibition. Centro Cultural Nelson Mandela, Mexico City, Mexico.
- 2021 Déjalas salir. Casa de Cultura UAEM, Mexico City, Mexico.
- 2020 Historias del Camposanto. Online exhibition.
- 2017 Recaudando de Noche. Cholula, Puebla, Mexico.
- 2017 Mis calacas. Cholula, Puebla, Mexico.
- 2016 Sin Rima y con Colores. Puebla, Mexico.
- 2014 Interviniendo instantes. Puebla, Mexico.
Group Exhibitions
- 2026 Un todo para el tiempo. Foro La Paz, Mexico City, Mexico.
- 2025 Antes de que el café se enfríe. Casa Ennea, Mexico City, Mexico.
- 2021 D-initium. Galería Willmar, Barcelona, Spain.
- 2019 Synegic. Art Number 23 / Ovalo, London, United Kingdom.
- 2019 Sólido. Somos Arte, Mexico City, Mexico.
- 2019 Viva México 2. Lloret de Mar, Girona, Spain.
- 2019 Viva México. Barcelona, Spain.
- 2019 Huateque. Museo del Tequila y el Mezcal, Mexico City, Mexico.
- 2019 El arte detrás de las rejas. Fundación Reinserta, Mexico City, Mexico.
- 2019 Espacio Abierto. Mexico City, Mexico.
- 2019 Punto de Encuentro. Mexico City, Mexico.
- 2019 Mural en Azules. Mexico City and Puebla, Mexico.
Publications and Editorial Projects
- 2024 Libres. Tierra de grandes. Documentary photography and social cartography project materialized as an editorial photography publication.
- 2024 Billi the Brain and How to Handle Bullying. Illustration. Spanish, English, and French editions.
- 2020 Billi the Brain and How to Fight Cancer. Illustration. Spanish, English, and French editions.
- 2020 El cojín mágico. Illustration. Spanish and English editions.
- 2018 Reapareces and Le hablé del olvido, works published in Flamantes, Spain.
- 2016 Billi the Brain and How to Keep Calm. Illustration. Spanish and English editions.
Podcast
- 2024–present Creator and host of Sin Título, el podcast. Conversations with artists and creatives about artistic practice, creative processes, and professional life.
Artistic Direction and Projects
- 2026 Cronos. Curatorial project for artist Christian Martín del Campo. Casa Academia de San Carlos, Mexico City, Mexico.
- 2026 Un todo para el tiempo. Second artistic experience directed by Estudio LaMARTINA. Foro La Paz, Mexico City, Mexico.
- 2025 Antes de que el café se enfríe. First artistic experience directed by Estudio LaMARTINA. Casa Ennea, Mexico City, Mexico.
- 2021–present Founder and Director of Estudio LaMARTINA, Mexico City, Mexico.
- 2018 En honor a... Mural intervention project developed as part of the historical recovery of Hacienda Santiago Ovando, Puebla, Mexico.