It’s about time that we women take action, maybe with us the world will run smoother. In my work, I state clearly our gender condition, and I
would dare talk about the atrocities that appear in our status as women, but I
am a very subjective feminist, and my work also states the controversies and
contradictions because we are neither such martyrs nor such whores. There are
dark zones in my woman’s world which shed
light on the hidden parts of our existence. We are transgressive of our modesty and pioneers in suffering but
certain very feminine ruses we hide. I make them come to light through my art.
Therefore, when it is time to address the subject of women, my work acquires a
controversial character because I position myself in the equitable center.
During the course of history, we women have been prototypes of an
abusive patriarchy which has created tendencies at the expense of our body, the
static manikin of changing fashion. My personal female condition inspires me, I
rebel and I laugh about our high heels idiocy. I want to provide alternatives
to what we are. We need to have confidence in ourselves, eliminate rivalries,
which is the same as stop competing for the male, all that which puts us in a
subaltern situation in a male chauvinist society which erases us from sight
once age puts more weight of despair on our hips.
My own experience of exclusion and vulnerability are recognized in my
current work but I also, by way of this artistic instrument which I use as a
privilege, claim the confidence of the artist. I raise the woman to the level
of the idol of envious goddesses and luxurious harps of reverence. With these
paintings, I wish to be accomplice and solidary with women, revealing stories,
meanings and situations in which the patriarchal system has humiliated,
threatened and excluded us.
“Let’s Party at Amazónico” is the image of the emotionally independent
woman, at the same time considered bitch or whore for the simple fact of not
depending on a male. I paint the ugly and the grotesque,
the unreal and the diabolical.
And thus, bit by bit, in my world of ungainly and daubed women, we travel
through my history which is no more and no less than a vindictive feminine and
feminist metaphor and a reflection about a standard of ideal beauty installed
by men. By way of my paintings, I want to establish that I determine my beauty
standard and that my grotesque transgressions surge from a social critique, are
vindictive and born free of any prejudice, to achieve a free interpretation
that flees from irrelevance even if at times they turn out grotesque.
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