In the voyage story Miriam recounts, the painting materials, oil colors and surface, uncover the dialog between fumbling in the dark and knowledge, loneliness and connection, reality and wonder.

Miriam’s contact with matter creates a movement that settles into the surface and emerges again toward the viewer at the moment of looking. The body is the instrument that carries her (and us) to the sublime, and the image takes us back to the body.

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Her new paintings, a magnificent array of riddles, tell a story about creating something out of nothing and about infinity meeting borders. On the seamline between the sensual and the cyborg-like, Miriam hides more than she reveals, stripping us of our knowledge and uncovers herself without being exposed.

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Miriam’s works occur at the encounter of emotion’s volcanic eruption with her complete control of matter. Her masterful skill with painting’s utilities, her body, or her work tools (never paintbrushes) and the wild release of her passions and desires, reveal a relationship that she allows us to witness, like voyeurs, and through it, discover something about ourselves.