Artist whose work is nourished from the consequences that arise from historic as well as personal imaginary and fictions that affect bodies, in relation to the body that painting and its material compositions inhabit. The artist studied visual arts at “La Esmeralda,” Mexico’s national painting, sculpture and engraving school, and holds an MFA in visual arts from the arts and design school at the Universidad Nacional Autónoma de México. In addition to shows in Mexico, her work has been exhibited in Asia, Europe, Latin America and the United States. Recent solo shows have included El fuego que no produce, at Guadalajara’s Museo Cabañas, 2023 to 2024; Un lugar para sí misma, at the Galería Karen Huber in Mexico City, 2021; Sudor frío at Proxyco Gallery, New York, 2011; To cool the blue, at Taka Ishii Film & Photography in Tokyo, from 2020. Perhaps the truth at Ballroom in Marfa, Texas, 2023; Murales para un cubo blanco, at Mexico City’s Sala de Arte Público Siqueiros, 2020; Princesses des villes at Palais de Tokyo in Paris, 2019 and Tú de mí, yo de ti at the Museo de la Ciudad de México, in 2019, figured among the artist’s most notable recent collective exhibitions. She is a three-time recipient of the Jóvenes Creadores grant from Mexico’s Fondo Nacional para la Cultura y las Artes, was awarded an Apexart Fellowship in 2019 and won the Premio Nacional de Arte Joven in 2013. She is a professor at the Universidad de Monterrey.

Nitsoats, 2024
Acrylic and charcoal on linen

Mitote, 2024
Acrylic, oil, graphite, and charcoal on cotton and jute

Como una fruta madura, 2024
Acrylic, oil, and charcoal on linen

Dificultad del aire, 2024
Acrylic and charcoal on linen and cotton

Naranja, violeta y amarillo, 2024
Acrylic, oil, and charcoal on linen

Ver arder, 2024
Acrylic, oil, and charcoal on linen

Orgulloso de su pesada carga, 2024
High-temperature ceramic

Espacio tomado, 2024
High-temperature ceramic

Una siendo dos y dos una, 2024
High-temperature ceramic

Pequeño monumento, 2024
High-temperature ceramic

Huesecillos blancos esparcidos en la noche, 2024
High-temperature ceramic

Sustratos, 2024
High-temperature ceramic

La piel de la noche, a series of paintings and ceramics, combines different notions of corporality and materiality with the recurring nocturnal imaginary in the artist’s work and references from history, literature, and philosophy. More than surfaces, the paintings are conceived as bodies with apparent seams and structures. Transparent fabrics (without primer) allow the viewer to consider the painting not only from the front but all sides. The works are inhabited by bodies that move, dance, and overlap; bodies infringed upon by violence and conservative practices yet meeting for a festive ritual: a type of genderless, ageless eroticism.

Vidales used materials like fluids, runoff, and minerals and processes like accumulation, assemblage, and burning. The large-format pictorial bodies, which feature irregular shapes, propose a spatial and scale relationship to the viewer’s body. The high-temperature ceramics, conceived as “three-dimensional paintings,” refer to pieces, like incense burners and other vessels, used in rituals as well as atavistic practices. The struggle between light and darkness is presented as a representation of change, not moral perspectivism.