When Manuela Solano delineates a cheekbone or shapes the chiseled torso of a cowboy standing tall, precisely placed nails, tape, and pipe cleaners offer guidance. The artist, who is blind, works intuitively, feeling out the areas she and her team have marked and trusting that together, the desired imagery will emerge. “I try to force myself to keep [the shapes] faster and looser, which feels great,” she adds. “It makes the process more playful.”
At just 26, medical malpractice in her HIV treatments caused Solano to lose her sight. She’s since adapted to new ways of working, as she taps into both her memory and imagination to produce paintings that reflect her concerns and joys. “My work is always, on some level, about myself. I make work about either my taste, my yearnings, or something I see of myself in someone else,” she says.
A beautiful film by Barbara Anastacio for T Magazine—which was made in 2018 before the artist’s gender transition—visits Solano’s then-studio in Mexico City and glimpses her process in detail. We see the artist flip through work made before she lost her sight in 2014 as she traces her practice from art school to the present.
Snowy scenes and portraits appear throughout the sketchbook and offer a visual throughline to her work today. Recent paintings like “Walking on Water” retain the vast landscapes of her earlier pieces as ripples pulse across the sea’s surface. “Me and my team are constantly figuring out the best way to paint textures or effects we haven’t painted before. In that way, we are continually learning,” she adds.
Similarly, a collection of self-portraits presented in her solo show Egogénsis, held earlier this year in Madrid, reflects a complex evolution of identity through a variety of tender portraits. Gender is fluid in this body of work, and the connection between humans and nature is intrinsic, as parts of the environment seem to imprint themselves onto her figures.
While Solano does pull from memory, she’s quick to clarify that this process isn’t unique to her practice. “I’ve heard that memories change every time we revisit them,” she says. “This means everybody faces the problem of remembering things a different way than they actually look.”
“Dinosaurio” (2025), acrylic on canvas, 215 x 215 centimeters
Having recently relocated to Berlin, Solano incorporates parts of her daily life into much of her practice, allowing her ongoing experiences and dreams to mix with imagery from the past and produce new compositions. She explains:
Nowadays, I am making a lot of work about my current comings and goings, all of it things I obviously have never seen. I think there is a common misinterpretation that my work is perhaps about memory, that I am painting the things I saw. And this often comes with the rather ableist worry that someday I might run out of memories to paint. But this is not the case at all. I am originating new images and putting them in my work all the time.
Solano is also a writer and often pens poems and stories to accompany her paintings. A recent piece, which she refers to as a manifesto, will accompany her new Blind Transgender and Wild series. If you’re in Mexico City, you can see the artist’s pop-culture works through January 4 at Museo Tamayo, before the exhibition travels to CAAC Sevilla in 2026. Find more of her work on Instagram.
“Cowboy” (2025), acrylic on canvas, 215 x 215 centimeters
“The Childlike Empress” in process
“The Childlike Empress” (2024)
“Walking on Water” (2022)
“Functional Leather” in process
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