ne of the fundamental aspects of the paintings of Beatriz Eugenia is the power of making people dream. Beatriz is definitely one of the Mexican painters who can still cause wonder in the ordinary observer. Her painting is accessible and of remarkable quality.

She is less rational and more intuitive than Magritte, who has been her inspiration. Walking in front of her works is an exercise of fragile flying and inspired flutter among clouds and blue skies of an unprecedented transparency.

Certainly, the themes addressed are actually complex representations: deplorable or edifying human behaviors, the global warming phenomenon and deterioration of our planet, lack of knowledge of our identity hidden behind a mask; the ups and downs of life.



Instead of identifying my work with a particular painting aesthetics, what my paintings have in common is that they tell stories in the painting style that better reflects them. And these stories often intertwine social criticism and humor, sometimes rather dark.


As pictorial fables, Beatriz exhibits some of the most shameful conducts that we, human beings, show in this gleaming XXI century. Without moralizing pretenses she recreates deplorable human actions that, so described, may prevent the spectator from offense or plain discomfort. As she treats them in the canvas, they became just a sketch, a rough approximation. Beatriz allows her natural talent to fly free to generate works of sufficient allegorical content. And as allegories its cassification and reassignment become complex, hence the strong attraction for the observer that pursues fantasy above everything else.

Four solo exhibitions touring the country,  her works have been exhibited in 16 states of the Mexican Republic; She has participated in over 60 group exhibitions in forums such as the Museum of Modern Art in Toluca, UPAEP Museum, San Pedro Museum, Puebla, IPBA San Luis Potosi and internationally in Croatia, Spain, Israel, Colombia, Argentina and the United States. Her work is part of the permanent collection of the National Museum of Mexican Art, Chicago, Ill., and the Fadwa Tuqan Museum, Buenos Aires, Argentina.