One of the most important Portuguese artists of our times. She began her artistic training at the Herefordshire College of Art & Design in the United Kingdom, attending courses in Textile Design between 1978 and 1979 and the Foundation Course between 1979 and 1980. Her initial interest in the tapestry technique is directed towards painting and drawing, due to the time associated with the production process, where she finds speed, the instant, and in them, she satisfies the freedom of the impulse, the surprise and the accident, and the exploration of a unified relationship with the supports and the materials. In Portugal, she attended the painting and engraving workshops at Ar.Co, between 1981 and 1983. Exhibits collectively since 1982 and individually since 1990. Her first works are figurative, predominantly landscapes and still lifes. In time, the object represented withdrew, and figuration gave way to abstract composition in superimpositions and juxtapositions of forms and lines, between emptiness and fullness, between positives and negatives, which came to dominate her work as a mode of analysis of the stains, the outline and the colour of the properties apprehended visually, kept emotionally, in found objects, in people of intimacy, in the trivial things of life, which intimately punctuate her biographical path. In them lives the contrast between separation and cosiness, between home and travel, between withering and blossoming, between the weak and the brave, between sea and land. Day and night, life and death, sky and abyss. In dimensions that vary between the large and small formats, with rectangular, square or round shapes, she applies, on canvas and on paper, indiscriminately disorganising the codes of drawing and painting, graffiti, dry pastels, china ink, watercolour, acrylic ink, and elements resulting from cutting and pasting. In her composition, she searches for a solar ideal, an aesthetic of beauty, of what is pleasant, of pleasure, of harmony, which she seeks in the relationships of balance, between background and composition, between line and stain, between textures and smoothness, between opacities and transparencies, between the solid colours of a palette in which reds, yellows, blues, blacks and whites predominate without renouncing the presence of unfoldings in secondary colours, and finds in the formal contrasts that emerge from the instinct of the avowedly muscular gesture, which inscribe the personal.