A Studio Visit with Emiliana Henriquez: The Colors of Ambiguity and Tradition
Emiliana’s paintings in the studio
On a chilly January afternoon, Emiliana Henriquez’s studio in Los Angeles is a hive of energy and contemplation. Her latest body of work, “Warm Blue Velvet,” opens on January 8 at Half Gallery in New York. While all the paintings for the show have already been shipped out, her studio remains alive with ongoing experiments, past works, and traces of her time at the Fountainhead Residency.
As we walked through her space, Emiliana explained how color serves as the emotional backbone of her work. "It's like the exclamation point," she shared. "The image, the composition, and the color all come together to create an emphasis. For me, the color isn't just decorative—it directs the viewer's psyche, shaping how they experience the painting." Her use of monochromatic palettes, for example, focuses the viewer’s attention, allowing her to manipulate where the eye begins and moves next.
Emiliana’s approach to painting is an intricate dance between memory, imagination, and observation. Many of her pieces begin with photographs, but the final works evolve into something new. "I use the photo as a starting point, but the rest is invention," she explained. In one piece, she described replacing a heavy sweater on the figure with a more delicate blouse—a decision driven by intuition and personal memory, evoking her own wardrobe and cultural heritage.
Much of Emiliana’s current work explores the shared traditions of the three Abrahamic religions: Judaism, Christianity, and Islam. "This series is about highlighting their similarities," she said. Inspired by her travels to Egypt and deep dives into religious iconography, she paints women veiled in ambiguity, their garments and surroundings resisting specific cultural or religious identification. “I was looking at women in Egypt—Christian and Muslim—who were all covered to varying degrees. It struck me how practical and beautiful that tradition is, especially in the desert.”
Emiliana’s interest in tradition is also tied to her study of art history. She references Jan van Eyck’s use of triadic color schemes—reds, greens, and blues—adapting the approach to suit her modern, introspective style. “It’s a way to connect to the classical while making it contemporary,” she said.
Tangerine, 2024, oil on canvas 14 × 11”
One of the most poignant aspects of our conversation centered on the tension between religion, identity, and politics. Henriquez views her work as a subtle, visual dialogue about these complexities. “Religion itself isn’t evil; it’s how we misconstrue and weaponize it,” she reflected. She intends to foster empathy, bridging cultural divides by portraying shared human experiences.
The ambiguity in her paintings—whether in the veiled figures or the interplay of light and shadow—offers viewers a chance to reflect on their own assumptions. She said, “I wanted the pieces to feel meditative and open-ended so that people can see themselves in them.”
Rose of Venus, 2024, oil on canvas 8 × 10”
Henriquez’s studio felt like a space where the past and present converged: drawings from her Fountainhead Residency, references to films like Ghost World, and symbols pulled from her everyday life, such as a Quran placed on a familiar shelf. Each element seemed to speak to the same ethos—an exploration of how memory, culture, and identity shape one another.
As we concluded our visit, it was clear that “Warm Blue Velvet” is just one chapter in Henriquez’s evolving narrative. Her work isn’t simply about religion, color, or tradition; it’s about finding beauty and connection in the complex, often conflicting, stories we tell ourselves and each other. For those in New York, her show at Half Gallery offers a rare glimpse into this profound exploration. For the rest of us, her studio provides a promise: that these conversations will continue, richer and more resonant with every piece she creates.