As a reflection of our body and thought, Quevedo's practice works as a living, changing, ephemeral organism; an entity with an ambiguous existence that transits between the frontier of reality and fiction. The work results from experiments that generate data, mutate matter underlining the changes in its temporary forms, colors and surreal textures as an effect of our own ephemeral nature experienced through sensory lenses.
The main object of her work is the “human condition” through her own personal experience. On this she builts “proofs of existence”. These tests confirm the human fact of the ethereal, in contrast to its mental construction, a powerful and permanent presence in the memory of its image, its symbol through form, word, color, sensory texture.
She is obsessed with the graphic documentation of processes and methods, due to the personal need to intervene in the matter through registration (gaze). This transformation responds to a maternal sense of caring, protecting, directing, cultivating to see the result of a constantly changing fruit. Her works move between organic and visceral vs. transcendental and ephemeral.
It is nourished by therapy as its axis, being its own transformation the same as that of the material: at the cellular, emotional and spiritual level; a ritual, a mantra in search of "the real", the true.
She defines her work as "actions in the matter-object establishing a physical-virtual dialogue from both directions". These physical, abstract, human, technological and/or biological actions are visually formalized and recorded through empirical experiments, painting, photography, sculpture, graphic work, and personal experiences, generating a circular flow of feedback. The results are extended in the time of the experiments, not having a specific beginning or end, using the generated work to remake new work. This feedback places the emphasis on processes and archived documentation.
The work moves between the modified (artificial/technological) and the original (real/cultivated) to confuse, mix and re-situate the habitual mechanisms of observation, representation and appearance.