Using painting as her main medium of expression, Lolita perceives her work as a space for reflection on the act of looking at and representing the body. She uses color in its brightest tones and shapes in their simplest design. With humor, she likes to play with the viewer, making them aware of the subjectivity of the medium and therefore, of the multiplicity of points of view depending on who is looking, when, where and how.
The body very quickly becomes a learning tool and a formal device. According to her, it is a wonderful way to develop the ability to represent volume, emptiness and line. By schematizing or stylizing the body, she shows it from all these angles, from the most common to the most provocative and suggestive. It thus becomes a “subject of painting” and not a simple pictorial transcription.
Lolita doesn’t care about reality, if her painting calls for it blue, it will be that way, if she wants it deformed or twisted, then she will cut off the head and lengthen the legs. On the edge between figuration and abstraction, she paints body landscapes which are not fully visible. It represents stylized shapes attesting to an in-between: buttocks, between thighs, passages symbolizing entrances into the space of the painting. Using a reduced color palette, she makes the body a motif that is as sculptural as it is architectural.
Between intimacy and exhibition, the artist each time summons a plurality of references which generate as many experiments as reading paths.