By Ron Rocky Coloma
In a quiet corner of the Guam Museum, a visitor stood transfixed before a polymer clay sculpture—a tiny, intricate figure of a mother cradling her rounded belly, painted with earthy motifs. It was one of the many evocative pieces from Dorathina Herrero’s solo exhibit, “Phases of the Womb,” a deeply introspective collection exploring themes of transformation, creation and identity.
Held from Dec. 7 to Jan. 14, “Phases of the Womb” featured 48 works spanning diverse mediums, including paintings, dolls, altars and sculptures. Each piece carried a unique narrative, yet collectively, they reflected Herrero’s journey as an artist, woman and mother. Her inspiration for the exhibit stemmed from her fascination with the moon and its connection to the womb.
“I am in constant awe of the moon and the power it holds. The title is symbolic of moon phases and the womb—a cave, a symbol of the Great Mother, a living creature's first home,” Herrero said.
“Like all my work, the title comes after the work is done. I feel this body of work reflects literal phases in my life as a woman,” she added.
The exhibit’s diversity of mediums allowed Herrero to delve into her themes from multiple perspectives. Her journey into doll-making began nearly a decade ago, born out of the need to create something she couldn’t find elsewhere. Over time, her creations expanded to include altars that became homes for her clay dolls, inspired by religious iconography.
“I think any single idea can manifest using multiple mediums,” Herrero said. “Much of the works represent childhood. Maybe it’s the story of a girl becoming a woman and what’s happened to her in between those years.”
One of her standout paintings, “Mixed Blood,” encapsulated the theme of identity. Herrero described it as an “earth-like womb” where living and non-living elements coexist. The piece symbolized her connection to her mixed ethnicity and the belief systems that shape her.
“What we have living within us will inevitably surface and seep into the here and now,” she said. “Housed within me is my love for my mixed ethnicity, my mixed beliefs—my mixed blood.”
The exhibit’s creation process was both challenging and rewarding. Herrero incorporated both new and older works, many completed over the past two years. She emphasized the importance of habits in maintaining her creative momentum, as well as the joy of involving her children in her artistic journey.
“My biggest breakthrough would be being able to involve my kids in my work,” Herrero said. “For example, sometimes one of my sons would critique my work—he would say something like, ‘It almost looks like a hand,’ or, ‘Did you know that flowers have eyes?’ It’s amazing.”
The exhibit also carried a sense of vulnerability. For Herrero, art serves as both a diary and a cathartic outlet. While her work is deeply personal, she embraced the idea that viewers would interpret her pieces in their own ways.
“One painting can have a different meaning for a dozen people,” she said. “If I hope for anything, it would be that they discover, or even rediscover, something about themselves.”
Herrero’s polymer clay sculptures and altars added an intimate dimension to the collection. Inspired by primitive art and religious symbolism, these pieces were integral to the exhibit’s broader narrative. The “Mother” doll, for instance, embodied the archetype of Mother Earth, while other sculptures reflected the perspective of a daughter.
Reflecting on her role as a creator, Herrero shared a sentiment that ties together the heart of her work.
“I surely see this exhibit as both,” she said. “Painting has helped me with my mental health... Whatever the audience experienced, I hope they go home and think to themselves, ‘I want to make something I love... something I want to see, without fear.’”
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