Dibujos Trigueña Series, (ongoing)., Titles: mask ii, 2022. Un Portal, 2021. Obatala think of Yemaya, 2021. Helmet Zúnzún, 2020. Helmet Obatala, 2020.
Tradiciones y Traducciones. MFA Thesis, 2020. Location: Yale University. Photography by: Allison Minto and Dawn Kim, "... concerned with the transformative potential of the body, María De Los Àngeles Rodríguez Jiménez’s practice is centered on ritual and performance. Inspired by the Yorùbá divination system, she makes what she calls “offerings” out of organic and industrial substances. She displays objects that once had intimate relations with human bodies, such as backstrap weavings, horsetails, and hoop skirts, alongside materials that provoke visceral responses, such as razor wire, suspended shackles, and taught fabric at risk of tearing. She conceives her works as akin to wombs—able to incubate internal forces as they are simultaneously pushed to their physical limits. These receptacles, however, require the activation of a performer or the physical presence of an audience to realize their potency. Handled, staged, and witnessed in space, De Los Àngeles Rodríguez Jiménez’s offerings enact the subversive power of devotional practices." Michelle Donnelly
Ojalá. Solo Show, 2019. Location: David Castillo Gallery, Miami. Photography: Zachary Balber, "Ojalá, a Spanish-language expression of hope, examines the potentials and aspirations of painting as a tool towards outlining the contemporary states of personal narrative, citizenship status, and belonging. Rodríguez Jiménez’ works swallow, stretch, and pivot their medium in material conglomerations that point to the urgency and unfixed nature of those conditions. And to this end, the exhibited works speak to the fervid nature of painting as a “zone of contagion,” in the words of critic and curator Daniel Birnbaum, that is “constantly branching and widening its scope.” Ojalá points towards the constellated subjects and objects of painting that Rodríguez Jiménez longingly dis- and relocates." - Claudia Mattos