If an artist’s own experience is almost by definition their main source of inspiration, for Sònia Gómez (La Sénia, Tarragona, 1973) it is without doubt the stage. After being part of Roger Bernat and Tomàs Aragay's no longer existing company General Elèctrica, and collaborating with Rodrigo García (Carnicería Teatro) and La Fura dels Baus, Sònia Gómez began to create her shows from small every day occurrences and from strictly autobiographical situations. So much so that during the last few years she has travelled together with her mother with whom she shares the stage (and her life). She fearlessly and unswervingly creates a universe overflowing with meaning and irony from the chaos and transgression of life itself. She does this without being limited to any particular discipline, she sings, dances, talks, gets naked and recites. ‘I would love to be pregnant on stage and create a product specifically about my state’ she asserts. Some would say she is a dancer and choreographer while others would say she is simply an unclassifiable performer.

Sònia Gómez studied contemporary dance and choreography at the Institut del Teatre in Barcelona and at the Performing Arts Research and Training Studios (PARTS) in Brussels. After working as a performer in several dance and theatre groups in 2002 she formed her own company bearing her own name and she made her debut with a whole declaration of principles, the trilogy Egomotion: Yo estoy en el mundo porque tiene que haber de todo (I am in this world because it takes all sorts), Yo no soy nadie pero me cago en tu puta madre (I am nobody but I kick your arse anyway) and Yo no hablo inglés pero a veces me lo paso bien (I don't speak English but sometimes I have a good time). Since then she has worked as an artist and has collaborated with many visual artists from Hangar – Barcelona based arts production centre – such as Joan Morey and Maria Cerón and alongside other artists such as Juanjo Sáez, Chicks on Speed and Sergi Fäustino.

In 2004 the performance Mi madre y yo (My mother and I) had its premiere, in which Sònia Gómez and her mother, Rosa Vicente, call up ghosts from the past and expose them with openness and naturalness by chatting between themselves and constantly asking for clarification from the audience, who sit through in amazement at this brutal session of family psychoanalysis. Mi madre y yo was considered her first great success and it has now travelled through Italy, Germany, France, England, Brazil and Portugal. After the solo trilogy Natural (Bass, concert per a animals, Natural 2 and Natural 3, 2005) Sònia Gómez hit the stage again with her mother in Las Vicente matan a los hombres (2006). Once again mother and daughter play themselves and they subtly question the frontiers between reality and fiction, intimacy and publicity and between the ridiculous and the brilliant. In this show they recall family experiences of the last thirty years and they speak about the two topics in which they are most interested: men and clothes.

Sònia Gómez’s most recent show is Experiències amb un desconegut (2007), originated from an idea dealt with in the solo Natural 2, in which the spectator and the artist undergo a commercial interaction: the former is the client and the latter an object of consumption. In Experiències amb un desconegut each male spectator buys an individual performance created specifically for him from a catalogue vaguely inspired on sexual experiences of BDSM (Bondage and Discipline, Domination and Submission, and Sadism and Masochism). In this way, Gómez carries on with her own personal exploration, constantly confronting her past, her body and making something unexpectedly revealing and important emerge from the irreverent and shameless.