Beatriz’s work is not merely a pursuit of refinement, beauty, or a sense of fairy tale.

What she is truly concerned with is how to make the “invisible” visible.

In her paintings, children, plants, birds, and gold leaf are not simply decorative images, but symbols that lead toward the world of the soul. Children represent a state of mind not yet fully shaped by reality; plants point to organic and uncontrollable growth; birds seem like messengers crossing the boundaries between different realities; and the shimmer of gold leaf marks the moment when something sacred, or revelatory, descends.

For this reason, beauty in her work is not the destination, but a key.

It opens the viewer’s inner world, allowing one to briefly step away from the ordinary ways of understanding, and enter a mode of seeing that is closer to the soul, to dreams, and to inner truth.

Beatriz’s works often remain suspended at the moment before a story has fully been told. It is as if light has just entered a crack, truth is about to reveal itself, and the figures stand at a threshold of transformation.

This is also why seeing her original works in person matters so much.

Photographs can record the image, but they can hardly convey the full depth of the oil paint, the light of the gold leaf, the quiet tension within the figures’ gaze, or the spiritual presence the works create within a space.

Beatriz’s first solo exhibition in Taipei is being held on Yangmingshan. The mountain’s light, tree shadows, and air gently echo the images of nature, dreams, and the spiritual world found in her work.

This is an exhibition worth approaching in person—not merely to see the flowers, birds, and children in the paintings, but to see how she allows the invisible world to appear through painting.