Alicia Amador Hernández was born in Mexico City, on December 9, 1964. She has a degree in Information Science and Techniques from the UNUM (Universidad del Nuevo Mundo). Her training in visual arts spans over almost twenty years of attending workshops under renowned artists like Gilberto Aceves Navarro, Germánn Venegas, Oscar Ojeda, Oscar Bachtold, Maribel Avilés, Rae Miller, Lorena Mata, Jacobo Ángeles, Marco Arce and Tomás Gómez Robledo, among others. She has attended theoretical courses under Raimundas Malašauskas, Ingrid Fugellie Gezan, Luis Rius, Blanca González and Jorge Juanes. Her work was chosen by Conagua (National Water Commission) to illustrate the campaign “Agua en Arte”, 2011, and for the fifth art show of the Reforma group, 2012. She is the founder of the TSArte collective, together with Tomás Gómez Robledo and Sergio Aguilar Álvarez, devoted to the development of visual arts projects in different media. Her individual exhibitions include “Los bichos de mi familia”, Universidad Autónoma Metropolitana Iztapalapa, CDMX (2016); “Tales with feathers” (2014), and “Flowers” at Galería Oscar Román, CDMX (2018); “Bucólica”, Museum of Anthropology of Xalapa, Veracruz (2019) / Gallery Oscar Román, CDMX (2020) and Danza, Querétaro City Museum, Querétaro (2022). She has participated in more than fifty national group exhibitions, in Monterrey, Puebla, Guadalajara, Oaxaca and Cancun; as well as in international shows, in New York, San Salvador and Paris. Her works are part of collections in San Diego, New York, London, San Salvador, Bilbao and Paris. As part of her professional development, she has participated in some editorial projects like the creation in 1986 of the cultural section of the bimonthly magazine Secofi produced by the Secretary of Commerce and Industrial Development. And in 1990 she was editor of the supplement “El coleccionista” of Casas&Gente magazine. Her work refers, on the one hand, to genre painting—portraits and still lifes— as well as to the discipline of guild workshops, as a starting point whose intention is a far cry from flat conservatism and aspires to to create through painting and drawing symbolic themes that emerge, advance and culminate in a critique and questioning of the conventional social, economic, family, and traditional cultural structures. Amador’s body of work, using traditional techniques such as tempera, oil and engraving, constantly rethinks her own reality to translate it into connections that go from the visceral to the convulsed and from the immediate to the permanent. The appearances, the spontaneous and the heartbreaking envision the deformations, the extreme, and the beauty in her compositions.