FST StudioProjects Fund

IN THE STUDIO WITH MARIA FERNANDA (MAFE) IZAGUIRRE

2023 FST StudioProjects Fund recipient, Venezuelan artist Mafe Izaguirre (b. 1978, lives and works in New York) welcomes us in her new studio, at the Cigar Factory in Astoria Queens—a repurposed industrial building from the 1890s.

edited by Myriam Erdely, May 2025

Having received a grant from the FST StudioProjects Fund in 2023, which was created by Frederieke Sanders Taylor, in order to help artists defray the cost of their studios in New York City, how has the FST StudioProjects Fund grant changed your practice? 

The grant allowed me to move from my first studio into a new space that better supports the needs of my practice. The new studio is not only significantly larger—with double the height and square footage—but also better suited for the type of work I do, which involves building machines and working across mediums. It’s located in the Cigar Factory, a repurposed 1890s industrial building in Astoria, which adds both character and functionality. Having a deck and an industrial elevator, along with enough room to set up dedicated areas for screenprinting, woodworking, and electronics, has transformed the way I work. It’s not just about having more space—it’s about having the right kind of space. This upgrade has made a real difference in how I present myself professionally and how I approach my projects. It’s opened the door for larger-scale experiments, new materials, and more ambitious ideas. It’s also made it easier to host visitors and collaborators who are curious about my work. The support from the grant gave me the momentum to take this important step forward.

Wonderful. Could you tell me a bit more about your space, the natural light is beautiful!

The natural light is great during the day, and the electric lighting already installed in the space works well for detailed tasks and long sessions. The combination of natural and electric lighting gives me the flexibility I need depending on the type of work I’m doing. Since it’s an industrial building, the electrical system is already equipped to handle the machinery I use. Because I work with light as a medium, it’s also important to be able to create a dark environment when needed—the space allows for that kind of control.

What are some of your influences?

My artistic lineage is rooted in the tradition of Venezuelan kinetic artists. Carlos Cruz-Diez shaped my early interest in color as a system and discourse. Alejandro Otero’s civic sculptures introduced me to the idea of art as a tool for social connection, while Gego’s work expanded my understanding of abstraction and spatial relationships. I’m also influenced by artists working at the intersection of art and technology. Mariana Rondón’s artificial wombs—four robotic sculptures that conceive hybrid transgenic beings—left a strong impression on me, as did Magdalena Fernández’s abstract, interactive installations. More broadly, I’ve looked to artists like Lucy McRae and Stelarc, who use the body as an experimental site to explore future anatomies and interfaces.

My thinking is also shaped by theorists such as Wittgenstein, Gordon Pask, Marvin Minsky, and Michel Foucault, whose work on language, systems, and perception informs how I approach machine-human communication. As a Latina woman of mixed heritage, my identity plays a central role in my practice. I was raised in a matriarchal family within the cultural context of magical realism and religious syncretism. That upbringing connects me to ancestral technologies, which I explore using contemporary technologies and tools available to the general public. My work often reflects this intersection, drawing on ideas of techno-paganism, techno-shamanism, and hybrid spirituality.

What types of materials do you use to create your machines and performances?

I primarily work with electronic components, but these are usually in dialogue with other materials like metal, wood, paper, fabric, resin, and acrylic. Light and projection are central elements in my work—many of my machines function as light bodies, using illumination not just as a visual feature but as a core part of the experience and structure.

Since my practice is transmedia, I explore multiple formats to produce sculptural objects, from artist books to mechanical artifacts and performative installations. I also consider digital media a material in itself—computers, software, and the Internet are integral to how I build and shape meaning within my work.

What are you working on now, next, and do you have anything you’d like to promote?

Recently, I’ve been collaborating with Ben Tritt, CEO of Matr Labs, on a new series of large-format hybrid paintings. These works are based on my hybrid poems. They are translated into oil paintings through Ben’s robotic painting systems, pushing the boundaries of the dialogue between human language, machine interpretation, and material expression. In my next project, I’m developing a new machine that will further my exploration of cybernetics. It is still in its early stages, so I’ll keep some details under wraps for now, but it involves performance, sound, and tactile interaction—continuing my interest in human-machine communication through embodied experience.

I’m currently open for studio visits by appointment via studio@mafeizaguirre.com. And also preparing to launch my virtual gallery, ThirdNature.art (IG: @thirdnature.art), where collectors and the general public can explore my work and acquire pieces directly online. It’s a space designed to reflect the hybrid nature of my practice, create community, and make my work more accessible beyond the studio and the traditional Gallery setup.