Straddling sculpture and fashion artefacts, Aloma Lafontana explores the relationships between the inner world of woman and the objects that surround her.

Based in Barcelona, Aloma Lafontana is a Wearable Sculpture Artist and Performance director that travels back and forth between the inner and the outer realm of the feminine body. In this transit she is able to bring about a world of internalized sensations of the universal need for communication and protection. These sensations take form through particular adornment objects, sculptures adapted to the body that artificially enhance some of its natural attributes which are presented on visual support or sensorial happenings.

"I feel a special devotion to natural materials, because they are the most precise designs in structural optimization and also have the quality of responding to humidity in order to change its strength and resistance" Nevertheless, the creative process involving natural and upcycled materials, with their past lives and usages, adds layers of symbolism and besides issues such as over-abundance and the relationship between creation and the environmental awareness.

The fascination with building up on a body began very soon. "Since I was a 2 year old baby I would play around getting dressed with any clothes and materials I could find; I also have this memory about chocolates I was more excited for the packaging than for the chocolate itself, I would build traveling time machine hats with those.

Trained as a Sculptress, Aloma Lafontana has felt, from the beginning, the attraction of the possibilities for transformation that this media offers. Her early work underscores basic functions that construct the modern personality: parties, sex, laughing, crying, hiding, the need for applause, and they require from the spectator (who is also the actor) to be put into motion. Little by little these objects start to lose mobility and become heavier, and the actor becomes captive under the influence of the weight. Sometimes the body assumes the constraints of a mannequin and the piece works without the need for support, and some others it needs the action of a performer.

After taking a Master Degree in Costume design for Theatre (IED), these early concerns take on a more theatrical tone that emphasizes, even more the presence of the object and it's symbolic charge. Since 2010, Aloma Lafontana is part of the head team at OSLO Barcelona. A workshop open to the public that catalyses the creativity of many young contemporary artists of Barcelona, a place where she also explores the transformation of her sculpture to haute couture. In parallel, she continues her experimental projects connected to differents places either on her on or for other artist, involving music, dance and visual arts.