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goose flesh
mixed media on canvas, 2024, 2026
mixed media on canvas, 2024, 2026
Goose Flesh, oil and mixed media on canvas,
200 х 155 cm, 2024-2025, exposition view
200 х 155 cm, 2024-2025, exposition view
Goose flesh documents a recontextualization of Regina José Galindo’s radical performance, in which the pregnant artist was bound to a bed, filtering it through my personal experience of obstetric violence. the title captures the ultimate, uncontrollable somatic response of the body colliding with the lacanian real — with that which cannot be consciously processed or rationalized.
I examine how the bodily performance practices of pioneering female artists of the 1960s grow within contemporary painting. Currently, the series generates a direct visual discourse with the radical feminist statements of Carolee Schneemann and Shigeko Kubota. here, the painterly gesture manifests as an extension of a performance of the body, overriding the boundaries of regulatory control.
I examine how the bodily performance practices of pioneering female artists of the 1960s grow within contemporary painting. Currently, the series generates a direct visual discourse with the radical feminist statements of Carolee Schneemann and Shigeko Kubota. here, the painterly gesture manifests as an extension of a performance of the body, overriding the boundaries of regulatory control.
Goose Flesh, oil and mixed media on canvas, 200 х 155 cm, 2024-2025
Goose Flesh, oil and mixed media on canvas, 200 х 155 cm, 2024-2025, details
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painless
oil, acrylic, coloured pencils, threads on canvas, 2021
oil, acrylic, coloured pencils, threads on canvas, 2021
The triptych 'painless' is a study of the inevitable collision between the self and the other. Does this collision culminate in destruction or transformation, and what role does the other play?
In this work, I address a personal traumatic experience of motherhood, documenting the states of guilt, responsibility, anxiety, and the miracle. The incorporation of stitching references corporeality and the surgical interventions that defined my life and the life of my child. The physical act of puncturing the canvas with a needle and drawing the thread is vital for its ritualistic, suggestive nature.
The central element of the triptych is a ruptured ultrasound scan of an embryo. On the canvas, I unfold two polarized narratives: alienation and total discommunication on one side, and contact with the transcendent - a departure beyond conflicts - on the other.
In this work, I address a personal traumatic experience of motherhood, documenting the states of guilt, responsibility, anxiety, and the miracle. The incorporation of stitching references corporeality and the surgical interventions that defined my life and the life of my child. The physical act of puncturing the canvas with a needle and drawing the thread is vital for its ritualistic, suggestive nature.
The central element of the triptych is a ruptured ultrasound scan of an embryo. On the canvas, I unfold two polarized narratives: alienation and total discommunication on one side, and contact with the transcendent - a departure beyond conflicts - on the other.
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a friend's gift
oil, acrylic, coloured pencils, threads on canvas, 2021
oil, acrylic, coloured pencils, threads on canvas, 2021
The triptych "A Friend's Gift" is my reconstruction of the myth of Prometheus. Daily, the eagle Ethon arrived to tear at the liver of titan who was bound to the rock. Daily, Prometheus submissively accepted the punishment. Subsequently, Heracles appeared and slaughtered the eagle.
I am interested in human's paradoxical trust in preconditioned rules of violence and the possibility of exiting the game. This is an inquiry into personal guilt and the total responsibility that emerges at the moment of choosing personal heroism. To what threshold can human effort endure when the frameworks of the norm are thoroughly obliterated?
What if Heracles never arrived? Can Prometheus defeat the eagle on his own? Who represents Prometheus, who is the Eagle, and who is Heracles within this narrative? And whose "gift" is this anyway?
I am interested in human's paradoxical trust in preconditioned rules of violence and the possibility of exiting the game. This is an inquiry into personal guilt and the total responsibility that emerges at the moment of choosing personal heroism. To what threshold can human effort endure when the frameworks of the norm are thoroughly obliterated?
What if Heracles never arrived? Can Prometheus defeat the eagle on his own? Who represents Prometheus, who is the Eagle, and who is Heracles within this narrative? And whose "gift" is this anyway?
Simple language
In the myth, Prometheus is bound, the eagle tears at him, and this appears to be an eternal law. I reflect upon exiting the existing games, redeeming the rules and changing roles
