She combined her studies of music with drawing in pencil until, in 1945, she became a student at the Escuela de Bellas Artes de San Fernando in Madrid. When she had finished her studies, she visited Paris. In 1951 she exhibited in the first Bienal Hispano-American de Arte, and thereafter she took part in various group exhibitions, including the Biennale di Venezia in 1954. Her first solo exhibition was held at the Ateneo in Madrid in 1956. Between 1950 and 1955 her painting style was characterised by simple figuration with a constructive feeling and a strong frontal quality, and the adoption of geometrical forms that gave order to figures, still-lifes and urban landscapes. Around 1956 she turned towards an Informalist abstraction with a strong focus on matter, the use of sand, and a concern for texture. This led to her becoming a member of El Paso in 1957. The following year she exhibited at the Ateneo in San Sebastián. 

Shortly after leaving the group in 1959 she experimented with glued materials, ceramics, pieces of glass, stones and shells. At the same time, suggestions of landscapes appeared in dark colours and ochres. In 1960 she exhibited at the Biennale di Venezia and in the group exhibiton Arte Actual, which travelled to Vienna (Galerie nächst St. Stephan), Berlin (Haus am Waldsee) and Copenhagen (Galerie Koepke). Between 1963 and 1979 she made works of a three-dimensional nature, distanced from Informalism –figures of anthropomorphic beings, using materials from the world of mechanical objects, presented in assemblages in boxes or glass cases. These figures became symbols of solitariness and lack of communication, as in the series El hombre y la ciudad (Man and City), Torres-participación (Towers/Participation), Rotópedos (Rotopedes) or Estructuras (Structures). Her work was presented in an exhibition shared with Pablo Serrano in 1974 at the Banco Occidental (Seville), and in 1975 at the Galería Juana Mordó. In 1980 she went back to painting, adopting circular, elliptical and rectangular forms, with themes based on the depths of the sea and starry spaces, in the series Fondos submarinos (Undersea Depths) and Cometas (Comets). The predominant technique was watercolour on paper glued on board, initially on black grounds and later progressing to more intense colours, aiming at total abstraction and colour harmonies. Her main exhibitions were at the Sala Luzán in Saragossa (1981) and the Palau Solleric in Palma, Majorca (1986), and, after her death, at the Palacio de Revillagigedo (Gijón, 1993) and a tribute at the Town Hall in Alicante (1995).