The work of Maria Herreros (Valencia, 1983) walks between the beautiful and the grotesque. She works with illustration or comic with a style marked by the deconstruction of the individual in a physical way, to show new, altered realities that illuminate the soul of who poses for her. The instinct is her line of argument.

She has a degree in Fine Arts and postgraduate in Professional Illustration, and has exhibited her work in galleries in USA, Spain, Canada, Mexico, Poland, China, Chile or Portugal, among others. She was selected by the Taschen Publishing House for its international illustration almanac, Illustration Now! 5, and has published for other editorials as Lunwerg (Marilyn had eleven toes) or De Ponent (Phenomenon). Her work is in media such as SModa from El País, Vein, YoDona from El Mundo, La Vanguardia, Cinemanía or Minchô, and has worked for companies such as Reebok, Asus, Coca Cola or Mahou. 

Her iconography walks between the happy sixties, pop and contemporary anthropology. For Herreros, the imperfection is beautiful.

María Herreros has made two artworks for Gunter Gallery. Vogue May 1975 is the interpretation of the famous cover that the model Jerry Hall carried out and turned her into an icon of that decade. "The outdated definition of beauty, that continues today, is revealed in the covers of the bible of fashion since 1892. Being the limits of the beautiful the basis of my work, I have always been fascinated by the covers of Vogue and I have used them a lot of times in my work as a vehicle to portray the time, the tastes, the society ", explains Herreros.

The other limited edition screenprint is Vogue March 1965, a mythical cover of the British magazine, starring by the model Marie Lise Gres. Herreros has versioned it, turning it into a limited edition silkscreen (signed by her) and rescuing part of its sixties imprint for the 21st century.”The covers of Vogue are almost an encyclopedia of aesthetic trend, the idols of the moment and even the cultural context," says Herreros.