Oshún, goddess of the rivers, sister of Yemayá, queen of the sea. Water weaves its own law between them—an eternal cycle of encounters and transformation. In Oshún, Glez turns her art into a visual prayer, a tribute to femininity and the inexhaustible power of what flows.

Water not only shapes stone, it also unites. In Oshún, sorority becomes a current, linking female bodies like tributaries of the same river. Women emerge from the water, inhabiting it as a sacred space where femininity flows with the certainty of time itself—goddesses of water and stone, daughters of the earth and the sea.

This photographic series honors Yoruba traditions, which have long revered water as the source of life. Oshún is fertility and love, a force that nurtures without violence. Glez revives this ancestral memory: water as the witness of sisterhood, of women’s ability to sustain one another without losing their essence.

The images capture the fusion between body and landscape in La Garganta de los Infiernos, where water has sculpted stone over centuries. Light and reflection evoke the sacred dance of rivers, the passage of time, and the endurance of tradition.

Oshún is a hymn to sorority, where women exist in communion with the current, where femininity is both river and sustenance. Like streams intertwining before surrendering to the sea, its waters pulse with the certainty that none flow alone—resonating with the echo of ancient prayers that the water preserves.

María Pérez Marín