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Sofia Perez

Sofía Luz Pérez
Studio Art, Concentration in Painting
[email protected]
Syracuse, NY 13210


Sofía Luz Pérez was born in Austin, Texas, in 1989 and lives in Syracuse, NY. Her work often depicts ancient feminine archetypes while referencing self-portraiture, bringing together the ancient wisdom of her pre-Colombian cultural heritage with her present-day self. Through this subject matter, she conveys empowerment and healing and delves into themes of hybridity and self-discovery.  
Pérez’s work has been published in the Women Artists’ Datebook by the Syracuse Cultural Workers and in the Great Lake Review in Oswego, NY. She’s shown her work in numerous juried shows, including at the Community Folk Art Center in Syracuse, NY, Soho20 Gallery in New York, NY, ArtRage Gallery in Syracuse, NY, the Point of Contact Gallery in Syracuse, NY, Stone Quarry Hill Art Park, in Cazenovia, NY, and the Art Association of Oswego, NY. In the Spring of 2021, she received a Student Scholarly and Creative Activity grant at SUNY Oswego to create a series of paintings in which she fused goddess archetypes and imagery from her ancient cultural heritage with herself. She displayed the series at the Art Association of Oswego in the Summer of 2021. She graduated with her BFA in Studio Art with a concentration in painting in December 2021 and is looking forward to attending an MFA program in the near future. 

Artist Statement

My work is a direct result of my inner process. Much of my work has been inspired by the healing journey I’ve gone through following a major health crisis and the healing of generational family trauma. I address both the physical and nonphysical (spiritual) aspects of those processes. Usually, I depict a fusion of self-portraiture and images of empowerment with symbolism from my ancestral heritage. I often reference pre-Columbian archetypes, specifically through powerful goddess imagery from Aztec mythology. I began my exploration into my ancient Mexican indigenous heritage many years ago, and it has been a key component in my creative practice.  
While work is autobiographical, I also believe it has universal qualities. I portray myself with somewhat unsettling imagery but with a strong, stoic resolve. I’m interested in conveying these polarities. I want to show both the light and shadow aspects of our nature and experience. In my practice, I use color and symbolism to address this duality, which is often characteristic of many of the ancient goddess archetypes. 

Sugar Skull II
Colored Pencil on Paper
30 7/8 in x 23 5/8 in
A self-portrait with sugar skull makeup. There are three roses across the chest, connected to a web pattern of thorny vines behind the figure. The interwoven vines contain numerous eyes.

Colored Pencil on Paper
30 7/8 in x 24 5/5 in
A statue of the Aztec goddess Tlazolteotl giving birth to two heads that are self-portraits. There are two bleeding dahlias on either side of the statue.

Colored Pencil on Paper 
30 7/8 in x 76 5/8 in
A self-portrait as the Aztec goddess Coatlicue with a necklace of human hearts and a skull. The neck is slit with snakes bleeding out of the wound. There are two banners containing a message in Aztec letters across the breasts. There is one snake on either side of the figure, each wrapped around cherry blossom trees.

Colored Pencil, Ink, and magazine clippings on paper
25 ½ in x 19 ¾ in
Drawing For Transfers
A portrait of a mutated woman figure. She has a nude body, a cow skull for a head that connects to two eyeballs, a necklace of orchids (one of which is bleeding), and is connected to two sacs containing fetuses.

Graphite on paper
36 in x 30 in
A profile view self-portrait made with expressionistic, scribbly mark-making.

Pancho Villa
Oil on wood panel
17 in x 11 in
Painting III
A portrait of Pancho Villa who is wearing 2 bandoliers over his shoulders like sashes. He is wearing a hat and is depicted outside with the desert far in the distance behind him. A banner beneath his portrait reads, “Here I have painted José Doroteo Arango Arámbula, aka Francisco “Pancho” Villa. He was widely respected as a Mexican Robin Hood, but after suffering many defeats he ordered the rape of many women. #Machismo.”

Visual Migraine
Oil on canvas
12 in x 9 in
Painting III
A frontal self-portrait with a large geometric shape masking part of the face.

Ancestral Strength
Oil on canvas
26 in x 22 in
Painting I
A self-portrait with sugar skull makeup, three roses atop the head, and a headdress of swords. There is a circular Aztec-inspired design in gold leaf behind the figure.

Healing Threads
Oil on canvas
30 in x 24 in
Painting II
A self-portrait as the Aztec goddess Xochiquetzal with three laced-up wounds placed down the center of the figure. The figure is wearing a headdress of spools of thread, and is depicted in front of a circular Aztec-inspired design with gold leaf.

She Eats Your Sins
Oil on canvas
60 in x 40 in
Independent Study; The Power of Ancestral Archetypes Grant Series
A self-portrait as the Aztec goddess Tlazolteotl. The figure’s face is covered in chocolate around the mouth and is wearing a white off the shoulder blouse. She is holding four bleeding lilies. She is depicted in an open archway with Aztec designs covering it.

Know Thyself, Heal Thyself
Oil on canvas
40 in x 40 in
Independent Study; The Power of Ancestral Archetypes Grant Series
A double self-portrait. The figure on the left as the Aztec goddess Toci with white hair, face markings and a headdress of spools of thread, and the figure on the right as the present-day self. The figure on the left is touching the forehead of the figure on the right. They are depicted within the opening of an archway with Aztec-inspired designs.

Straws, plastic cups, hot glue, wire
19 in x 22 in x 24 in
Sculpture I
A photo of a woman wearing a headdress that encompasses her head. The headdress is made of interconnected plastic cups with straws sticking out of them. 

Faux suede, Egyptian cotton, chicken wire, foam, house paint, shoe polish, batting
20 in x 16 in x 6 in
Independent Study; Reflections of the Self
A pink suede three-dimensional bust covered with crocheted brown and off-white flowers. Some of the openings between the edges of the crocheted flowers are outlined with red house paint. There is brown shoe polish smeared all over the bust.