
Notes from the Plinth
I spend my working life on top of white boxes. Observations from up here, where the air is thinner and the poses are permanent.
Editorial & Fine-Art Model

A curator once introduced me as 'the work' and I have never corrected her. It remains the most accurate job description I've been given. I stand on plinths for a living. I hold still under museum light while people in good glasses walk slowly past me, and when the shutter goes, whatever I was doing with my shoulders becomes permanent. Most models are photographed. I prefer to say I'm acquired.



The white cube is my natural habitat. Give me an empty studio, one hard wall of daylight, a block to sit on, and I will give you a catalogue. I trained in dance in Santo Domingo until my knees filed a formal complaint, and what survived the transfer is placement: I know where my hands are the way other people know their own names. Photographers tell me I'm easy to light. That's generous. The truth is I've spent years learning what the light wants and getting there first.

I spend my working life on top of white boxes. Observations from up here, where the air is thinner and the poses are permanent.

For years, retouchers treated my freckles as a problem to be solved. An account of how they became the collection's most requested holdings.

A white studio, twelve denim looks, and the single loudest prop I have ever shared a frame with. In memory of a step-ladder.

Editorial & Fine-Art Model, based in Santo Domingo, Dominican Republic and available wherever there is a wall worth standing in front of. For bookings, castings and commissions, leave your name at the desk.