Oxiea Villamonte’s work investigates the fluid nature of memory and identity through a practice rooted in autobiography and family history. Combining self-portraits, vernacular photographs, and her grandmother’s writings, Villamonte creates layered narratives that challenge conventional boundaries between generations. Her art questions who controls a family’s visual record, and how memory is shaped by both presence and absence.
Self-portrait, 2006
I was a very well-traveled kid, as my mother traveled the world with me. I was passionately photographing and filming my friends, which I still love doing. For the book that I am currently working on, I am going through the archive, and it’s both interesting and funny to see the similarities between how I photographed and filmed at nine years old and at twenty-nine.
I’m working on my second book about my mother, together with her, while also reading extensively about other women who were artists and either had children or chose not to. The more I research, the more women I find who inspire me. To name a few: Adrienne Rich, Judy Chicago, the mother and daughter in Grey Gardens 1975, and one of my longtime (not a new discovery) biggest inspirations (next to my mother) Chantal Akerman.
Photograph by Oxiea Villamonte’s father of her mother photographing, with Oxiea in the foreground. Cappadocia, Turkey, 1998. From A Resilient Archive.
I feel an urgency to share and bring to life certain stories in the world. Right now, I’m working on a book about my mother, together with her. My main motivation for this project is for my mother to see all her accomplishments published in a book.
There are so many! To name two: one is traveling to Lima, Peru with my mother, since her father (my grandfather) was born there. We have family we’ve never met, and I’d love to try to find them and make a documentary about that journey.
The second is a book I want to make about my father, David Kotker, who was also an artist.
 with her daughter, Oxiea Villamonte. Amsterdam, 1999.](https://storageuntitleddb.blob.core.windows.net/udb-interview-qa/e88d2e6d-a7ef-40e5-92c1-3a3d31418f4c1200.avif)
Reina Villamonte with her daughter, Oxiea Villamonte. Amsterdam, 1999.
My mother, Reina Villamonte—visionary, authentic, and a true style innovator.
My camera.
I have been listening to two albums on repeat: Voor Het Verdwijnt, En Daarna and In de Verte, dit uitzicht, both by Abel Ghekiere.
People often overlook how many hours go into making art—and how much work surrounds it beyond the act of creating. It’s truly a twenty-four-hour commitment, but if you love what you do, every bit of it feels worthwhile.
Keep going. Keep making work. Don’t stop.
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Prospects Art Rotterdam, Mondriaan Fonds.
That my work is too personal, meant as a negative critique. My work is very personal, and I believe it's my strength, not my weakness.
Huis Marseille, Museum for Photography in Amsterdam. One of my biggest dreams is to have an exhibition there, with my mother there to witness it.
Their eyes and their energy.
Walking, reading, watching a movie or (pole) dancing.
New York city, Amsterdam and Antwerp.
I recently received a wonderful compliment: "I really love your photo book Next of Kin. The way you capture people so beautifully, especially the moments shared with family and the subtle reflection of generational change, truly inspired me. I bought your book in Korea, and I think it is the best gift I gave myself this year. I really want to visit your exhibition in person, even though this might be difficult – it would mean so much to see your work in person. Thank you for creating such beautiful art. – Your fan in Korea."
Colorado, 2021.
I’m very adventurous; I love having an adventure every day. I often go for long walks, not knowing where I’ll end up or who I’ll meet along the way. Traveling in America for almost a year, never knowing where I’d stay along the way, was a big adventure. I stayed with friends and family, and for a short time, I lived in a garage. During that same journey, I traveled alone by Amtrak from Seattle to Boston, a trip that took about four days. I spent most of my time in the viewing car, talking with people as they got on and off the train. That was quite an adventure. Stay curious.
In My Mother’s House, A daughter’s Story by Kim Chernin.
My first published book, Next of Kin, and living outside the norm.
*.](https://storageuntitleddb.blob.core.windows.net/udb-interview-qa/258d7b72-f5b1-494d-931d-ea06268e38171200.avif)
Photograph of Oxiea Villamonte's book Next of Kin.
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Help Us Grow
We are committed to building UntitledDb as a long-term, open-contribution visual art database, and subscriptions are what keep that commitment viable.
For the price of one (1) coffee each month, a Pro or Enterprise subscription helps us keep the lights on and gives you access to useful perks like profile-claiming, edit control, advanced analytics, and more, while also giving you a direct say in how we evolve the platform and what gets built next.
What is UntitledDb?
UntitledDb is the collaborative visual art database.
Artists: keep one up-to-date profile that evolves with your practice, instead of managing scattered sites and links. Curators: reduce research drift, follow emerging work, map collaboration networks, and assemble proposal material in one place. Exhibition spaces: document each show as a searchable record that lifts your artists’ visibility and makes it easier for curators, writers, and collectors to find them.
Browse freely. Create your profile with a free account. Upgrade to Pro or Enterprise for profile verification & claiming, edit control, and analytics.
