In López’s work, the symbols are emptied of meaning in the act of being painted, as if the fabric absorbed them to leave only their shell and beauty visible. López promotes the surface as an alternative and aesthetics as a way of doing politics, while the images enable a common place, an encounter between artist and public. In her installations, the artist works with objects and images from the mass media or fast fashion as synecdoches of the end of the 20th century.

The artist invokes the dichotomies of communism-capitalism and proletariat-bourgeoisie from its ruins or from the fragments that arrived at this point on the map and time. She covers these objects and images and decorates them with bows, glitter and jewelry, searching in secular fiction for a way to disturb the present through ghosts that inhabit different temporalities.

From repetition, she exercises and she exercises memory as a performative practice: in her hands, the brush leaves thick and material traces; She recreates over and over again the memory of her childhood room, or flowers, mountains and bows that she often chooses to leave with unfinished aspects. López makes paintings on the scale of her body, with strange movements, as if they were the gestures of other people. Her work has an archaeological character: it seems to be born inscribed in the past or to try to tell the viewer, over and over again: “the new no longer exists”, to invite them to the erratic and possible choreography of inhabiting the urgency of an other future.