Estrella Dominguez is a Miami-based interdisciplinary artist whose practice unfolds through making. Working across painting, textiles, found materials, and installation, her practice investigates relationships between seemingly unrelated systems through process-driven forms of making. Through acts of construction, displacement, and adaptation, her work explores how patterns become visible over time and how materials can reveal unexpected connections between memory, infrastructure, and place. Drawing from engineering, fractal geometry, and Miami's layered infrastructures, she creates adaptive works that explore memory, place, and transformation.

Dominguez holds a BFA in Painting from New World School of the Arts (2024). She has exhibited at Under the Bridge Art Space, Locust Projects, and YoungArts Gallery. She has been a resident at Under the Bridge Art Space and ProjectArt, received a Miami Individual Artist (MIA) Grant (2026), and completed public art commissions for the Miami Parking Authority and the Koubek Center.

Resume Instagram

Artist Statement

My practice unfolds through making. I didn't truly fall in love with the work until I realized I didn't have to restrain myself to one idea, material, or discipline. I'm most interested in quilting together concepts that seem unrelated, allowing them to enter into dialogue across materials, ideas, and bodies of work. Process becomes the vessel through which concepts reveal themselves, and I find myself acting less as the author of the work than as a messenger and interpreter between it and the world around me.

I rarely begin with a fixed conclusion. More often, I begin with an impulse to make, trusting that the work understands something before I do. There are still moments in my practice when I feel compelled to make without fully understanding why, and I've learned to trust those moments. The answers almost always arrive later.

Only after a body of work is complete do I begin tracing the influences that shaped it, following connections between materials, memory, infrastructure, and lived experience. At times, the process feels like investigating a crime scene committed by the investigator herself—following traces, building relationships, and discovering that intuition often arrives long before explanation.

Working across painting, found materials, textiles, and installation, I construct systems that are built, disrupted, displaced, and reconfigured. Engineering, fractal geometry, and adaptive systems have become ways of thinking through Miami, a city that feels like an intersection of independent structures, diasporas, and infrastructures operating according to their own internal logic while continually reshaping one another. Rather than recreating these systems, I reconstruct their behavior, allowing materials to migrate into unfamiliar contexts, collide, and adapt.

Ultimately, my practice is driven by the belief that relationships often become visible through time and sustained attention. What appears disconnected at close range frequently reveals itself as deeply patterned when viewed from a greater distance. My practice allows me to spend time inside that idea, uncovering relationships that were always present but not yet visible