The artist, mastering the drawing, free from all prejudice, faces a blank canvas. Everything is in the imagination, in the heart and in the intellect, and so she tells us, "My works I have in my mind, in the imagination, I paint directly, I go to the blank cloth and start designing what will be the painting. The same technique imposes limitations on me. As I use acrylic in the first stage of work, I can't make mistakes..." During the mid 1980s she showed another phase whose significance is to make way for the style by which her work will be appreciated internationally. In this short period, the artist is interested in certain reminiscences of Archimboldo faces, by jugs and sugar pots full of flowers in compositions of free play between full spaces and empty spaces, a certain scenography cut pervade the painting of this moment. Gradually the shapes emerge from the bottom to the surface. The future is felt. The definition of a search is felt.

In 1986, she received an invitation from the Italian government to participate in the Spoletto Art Festival "Dei Due Mondi". Success didn’t wait, "after that experience I was never the same again, it influenced me so much that I traveled again to study, I went back to museums, to galleries, which I had already visited," the artist said on her return from Europe. An intense year, personal exhibitions and participation in important collectives followed. Another beautiful event takes place, the publication oft the book entitled Tierra de Infancia (Land of Infancy), 1986, with narrations by the illustrious Salvadoran poet Claudia Lars (Carmen Brannon) and illustrations by Ana María.