She was born in Mexico City on June 18, 1976, and moved to United States in January of 2000.  Jade has been in contact with art since she was little. She has traveled to Europe and in Mexico to the various archaeological sites of different cultures: Aztec, Toltec, Olmec and Mayan among other. Jade has always been exposed to art, her mother being an artist and most of her family members displaying an artistic talent.  At the age of 16, Jade started working for an art gallery named Samarkanda, Art for Collectors, in Mexico City. The gallery displayed art by such greats as Frida Kahlo, David Alfaro Siqueiros, Dr. Atl, Jose Clemente Orozco and Diego Rivera, among many others. The gallery also specialized in antiques, fine Persian rugs and Pre-Hispanic objects. Jade learned volumes about Mexican art and culture and artwork from around the world in her 5 years at the gallery.   In the year 2000, she moved to Scottsdale, AZ to work for a family-owned business. In March of 2002, she met the painter, pottery maker, and collector Bill Freeman, and he invited her to the studio to learn how to make pots. This began a long-term friendship and mentoring process. Bill taught her all his techniques about pottery making and antiquing. As she became more and more fascinated with the process, she started to make this activity more part of her schedule. When she was not working, she would go to the studio and make pottery.   In December of 2003, Jade had the idea of painting a Mayan clay cylinder on a 4’ x 2’ canvas using the antiquing techniques that Bill had taught her in the pottery process. Translating the surface designs of an ancient clay work into a two-dimensional work was a departure for her, and this first successful attempt was a springboard to exploring new designs and cultures in a different format. In her work since, she has been experimenting with different textures and surface treatments to make the paintings look like old murals or fresco accents.  She likes to experiment with different tribal designs, from Mayan and any other pre-Columbian culture to the Northwest totem motifs. She likes to blend ancient designs and modern formats in her pieces, and she plans to incorporate the designs of many other cultures in her art.

"Yei" Painting-Culture: Navajo  "I referred to a Navajo Rug Yei design to make this painting. I put a lot of details from my imagination,  yet the escence of this Yei figure is pretty authentic." Mithology:   This "Yei" human figures are often in Navajo Rugs and also in sand paintings, This figures taken from sacred and ceremonial navajo images, they are never reproduced exacly the same, the weavers and painters always make a change on this sacred images so they don't offend their sacred tradition by using this images make a living and brake the powers and harmony of the universe. There is a navajo tradition that consists in promoting balance of the universe and tranquility, and they have a series of ceremonies for nine days and nights to heal the spirit and the culminating with the Yei' bi' chi dance. The Nightway invokes a special category of Holy People known as Yeis - beings generally well disposed toward the Navajos, together with their leader and grandmaternal ancestor known as Yei'bi'chi. The uniqueness of the Nightway stems from the physical appearance during the ceremony of the Yeis themselves, impersonated by masked and ceremonially attired Navajos. "On the final night of the ceremony, the Yeis execute a public performance,". "Hundreds of Navajos will gather from all parts of the reservation to benefit from the benevolent presence of the divinities." "Katsina" painting-Culture: Hopi "This painting is partly made up from my own imagination, I am not a Hopi Indian, I am actually Mexican, but I find myself fascinated with this dolls and love to paint them. My interpretation of this particular Katsina is a katsina to help bring a good harvest of corn for our village and fertility to the Earth." Mithology:   Small brightly painted wooden dolls are what come to mind when people hear the word Katsina. These dolls are actually called tithu by the Hopi people. They are referred to as katsintithu when a more specific term is needed.  Katsina primarily refers to the supernatural beings who are believed to visit Hopi villagers during half of the year. Katsinas have the power to bring rain, exercise control over the weather, help in many of the everyday activities of the villagers, punish offenders of ceremonial or social laws, and, in general, to function as messengers between the spiritual domain and mortals. Katsinas are spiritual messengers.