Initially self-taught, she later continued her education though private classes in the studios of artists Ricardo Grau, Cristina Gálvez and Germán Suárez Vértiz, which she attended for a period of five years.
[1] Following this period, Gómez-Sánchez quickly began to experiment with non-traditional materials, such as sand and sawdust, to achieve innovative textures on the surfaces of her paintings.
[2] Later, in her second solo exhibition, titled Yllomomo (Galería Solisol, 1965), this line of exploration becomes more radical in works with such titles as "La muerte de la pintura" [The death of painting] or "Funerales de un pincel" [Funerals for a paintbrush], both of which consisted of assemblages made from cheap ephemeral materials (plastics, wood, metal meshes and other discarded objects).
They burst onto Lima's art scene with controversy, challenging the artistic conventions of the period, and with Fernando de Szyszlo as a leading figure in modern abstraction.
According to art historian Alfonso Castrillón, the "muñecones" linked Gloria Gómez-Sánchez' work to Neo-Dada, due to their ephemeral nature and their aesthetic indifference.
Porque nuestro tiempo es hoy, ahora.Over the course of her artistic production, from the mid-1950s to 1970, Gloria Gómez-Sánchez experimented with a myriad of techniques, materials and styles.