Bio

Jennifer Agricola Mojica is a contemporary painter, educator, and mother based in San Antonio, Texas. Agricola Mojica’s work conveys shifting perspectives and figures, layers that conceal and reveal, monotonous repetition punctuated by shapes, and suggestions of a fragmented time and space.

Agricola Mojica has exhibited nationally and internationally, including at the Ruiz-Healy Art in New York City; Royal Nebeker Art Gallery in Astoria, OR; Trisolini Gallery, Athens, Ohio; and the IF Gallery, Prague, Czech Republic. She has shown her work at numerous galleries in Texas, including the 1906 Gallery, Joan Grona Gallery, Sala Diaz, Dallas Center for Contemporary Art, Dock Space Gallery, and, most recently, a solo show with Ruiz-Healy Art in San Antonio. 

Agricola Mojica has been featured in multiple publications, including New Visionary Magazine, Create! Magazine, Women United Art Magazine, and Art Seen. Her paintings can be found in Ruby City Art Center, Alamo Colleges District, and private collections across the United States and Europe. 

After earning her BFA in painting from Ohio University College of Fine Arts, Agricola Mojica received her MFA in sculpture from the University of Texas at San Antonio. Today she splits her time between her studio practice and teaching at St Philip’s College.

Statement

My work is a mirror of self, of transformation, and of the deep desire to belong somewhere even if that place is still unfolding.

I explore internal conflicts of isolation, longing, and transformation. The figures and forms I paint occupy quiet, suspended moments caught between realities, drifting through dreamlike, fragmented spaces. They reach, dissolve, and shift within liminal environments, always on the edge of becoming or unraveling. This reflects my own in-between state of knowing and unknowing, stillness and restlessness.

Through layered imagery and obscured narratives, I explore how the self evolves over time and how to make sense of my own internal landscape. Every element from the floating figures to ambiguous settings and recurring symbols like cakes, plants, and birds represent a visual language that speaks to instability and impermanence.

With In Between, a cake marks time and memory that are quiet indicators of life’s progression. A drooping flower bud creeps into the picture plane longing to join the party. The figure appears disconnected, frozen mid-thought or mid-gesture, never fully present to the space.

Color heightens emotional tension with punchy chroma contrasts against muddy, muted tones. Loose brushwork and layered marks reflect an intuitive response, searching process rather than the planned outcomes.

In Rabbit, the figure began with gestural marks and gradually emerged through overlapping shapes. Baroque still life elements appear and recede, pressing up against contemporary painterly approaches. The figure reaches for a steak but can’t touch it. She shouldn’t or couldn’t have this desire. This piece, like many others, is a conversation between conscious intention and unconscious longing.

These paintings offer no resolution. They embrace the discomfort of ambiguity. These visual spaces of the uncanny, the quiet, the disoriented invite reflection and allow for transformation. They are on the cusp of where something might begin, or end.