Bilbao. Photography, fashion, architecture, video art and installation.

At the beginning of the 90s she began in sculpture, although during her career she has been changing and exploring other disciplines. This is how her sculptures end up being incorporated into her photographs or become large installations containing video-artistic pieces that end up linking lines of research.

Aláez is committed to the vital naturalness of the devices that we assimilate from each of our bodies through the elaboration of body accessories, building synthetic rooms to narrate her own transformations in photographs and videos.

Her artistic production includes the mixture of low and high culture, kitsch and glam, as well as advertising, fashion and urban tribes. In fact, one of the keys to understanding her work is the context in which she lived during her adolescence, marked by the social and economic crisis, as well as by the structure of Basque society that saw her youth as potentially dangerous and that combined a post-apocalyptic physical landscape. This industrial landscape was engraved in her own imagination, and was the germ of her need to escape. Her response to this situation was to resort to new anarchist ideologies that were going to be mixed with a punk aesthetic. During these years her personal image was a source of inspiration and field of work, not to submit to the socially established.

During her training period, she studied at the Faculty of Fine Arts of the University of the Basque Country and her attendance at the two workshops that the sculptor Ángel gave at Arteleku in the early nineties was decisive. Aláez will reject these teachings of the New Basque Sculpture with the introduction of elements that correct them from a gender perspective, adding new materials that are not related to historical sculpture, such as plastics or fabrics, and even generate small-format sculptures with light and domestic materials.

With its clothing, adornments and bodily gadgets, the body itself becomes a space for the deliberate construction of new characters. It is in the body where the personal, the unstable and the transitory are combined to celebrate the attachment to the prefabricated life and to play with its perishable mechanisms. With a manifest disobedience towards limits, the artist creates iconographic fantasies that help the development of subjectivities and that allow reflection on the expression of personality through matter.

In her work issues such as sensuality, sexuality and seduction stand out, to investigate the limits between what arises naturally and what is simulated. The postulates of relational aesthetics prioritize the relationships that are established between those to whom the artistic dynamics are directed against the artistic object itself. But in the case of Aláez's works, they function as an exercise in themselves to deactivate institutional myths by ironically displaying their inconsistencies.