Grew up in a family of Polish and Sicilian immigrants in various rural and industrial areas of France. The wide-ranging geography and environments she experienced growing fed her sensitivity to codes and identities of different cultures. From Latin America to Europe, the landscape she investigates continues to grow, a rural culture confronting an expanding universe on an international scale her aesthetic and lexical vocabulary reveal confrontations between the natural and the industrial, which transcribe their extreme material qualities on her sculptures. She asserts mobility throughout her practice, "poaching the outside" with materials and forms from volcanoes to traffic jams, skyscrapers, and urban ruins. Alonzo's approach to sculpture breaks the stereotypes of the masculine practice of sculpture where massiveness rhymes with perpetuity and immobility. Like autonomous bodies, once erected in space her sculptures combat their surroundings. The artist proposes a complex kitchen composed of transmutative practices and hybrid gestures. She emancipates the materials from their conventions. The tiles come off the wall, the marble does not shine anymore, the rebars are exposed, the concrete becomes fragile. Alonzo’s constructions force contention amongst the senses, through precarious formal mounds. At the same time, minimal and direct, repeated gestures build dense bodies. Somewhere between signature and vandalism, the pointed addition of images creates an intimate duality between the artist and the raw genre material.

Ella aborda su práctica escultórico desde el punto de vista de la precariedad de los materiales. Se enfoca en encontrar un balance entre la materialidad de sus objetos para así alcanzar el punto de equilibrio. El proceso de Alonzo consiste en levantar o enderezar la escultura que en su comienzo yace en el suelo. Como acto artístico, le interesa la relación entre los verbos eminentemente fálicos tales como erigir, elevar y enderezar.