About me
My name is María. I was born in Argentina and have lived in Mexico for many years, where I have developed a large part of my artistic and personal journey.
My connection with art began when I was very young, first through theater and then photography, a discipline that continues to inspire my way of observing and creating. Throughout my career, I have taught workshops in different regions of Mexico and Latin America, experiences that deeply enriched my perspective.
Today I live in the desert of Baja California Sur, where I create unique and unrepeatable pieces, handcrafted with dedication, care, and respect for the materials and processes.
In addition to the available works, I also undertake special projects and collaborations. If you have an idea or are looking for a personalized piece, I would be delighted to chat with you.
Thank you for visiting this space. I hope you enjoy these creations as much as I enjoy making them.
Exhibitions
Aguamala
Heartless beat, bodiless territory
In the late 20th century, Japanese scientist Masaru Emoto discovered that water molecules have the capacity to encode and adapt to the environmental atmosphere of a given context, as well as to the mental and emotional state of human beings. This revealed the morphological and electromagnetic possibilities of water and the human body, which is largely composed of this substance.
María Campllonch's body of work is based on a similar kind of revelation, but in an informational exchange between the dynamics of water and the body, allowing for a diversity of processes and presences to be traversed. By working in specific spatiotemporal lapses, within currents and ponds of water intervened by the human condition, one might think that the result of her images would have to be chaotic. However, María has managed to connect with water to the point of merging with its presence: she understands it, but, above all, she listens to it.
Although her work, in part, is made with this residual water from different territories of San José del Cabo, the result seems to speak of a purifying intention of a biological nature. The substance or emulsion with which she works her cyanotypes becomes a living being in perpetual mutation, sensitive and adaptable, just like water itself, to the proliferation of life. The story that each piece tells seems to be a type of correspondence: a luminescent dialogue that delves into its intimacy; like the bottom of the sea, but one that absorbs the transpersonal; like a climatology of the universe.
María does not see creativity as an illusory confection; she understands it as an intimate projection of the vital. Technique is not a narrative apparatus, but a pulsation that traverses an ambiguous and vulnerable body, sustained in an immersive field of forms and processes that arise from the intrinsic instability of the fluid. The chemical process functions as a crucible: a fertile field in which the spirit is sown.
The term aguamala surprises, but does not condemn; it hurts, but does not mark. It transmits liquid indications of renewal and shows us the transformative possibilities of a counterintuitive phenomenon.
— Eric E. Esparza Núñez
March 19, 2026
