With my practice I pretend to travel the timeline through historical paintings to build a story and reflect about the role of women in different history moments. I try to overcome the neglect that women artists have received from the European Art History, since I believe that is still active today in art education supported by theories and practices in the so-called postmodern culture.
I started by making an archive called Pinte Ud!. This visual investigation is made from illustrations that I draw with black chinese ink, and originates from copying details of represented female figures from famous historical paintings. In most of them, Women appear simply represented as a “muse”. I then reproduce with the same technique a selection of self-portraits of woman painters from the 13th to the 20th century, amongst them are Artemisia Gentileschi, Marie Louise Élisabeth Vigée Lebrun, Sofonisba Anguissola, Judy Leyster, Rosalba Carriera, Marie Ellenrieder, María Bashkirtseff, Gabriel Münter, etc.
I simplify the original painting starting only with black lines, and then design color proofs that lead my production to an aesthetics related to graphic illustration. Then the new images are projected over the canvas with a 3M 9050 overhead projector to produce large-scale paintings made with acrylic paint.
These Grafopinturas made with few but very valuable technical resources, try to evoke, through the manual craft, the old commercial painters, who are disappearing being replaced by the plotter machine. This way I also try to make a reflection on the class condition that often determines the possibilities of a professional artist.
My investigation also contains a painting about the historical fact that back in 1914, Mary Richardson, a British militant Suffragette, entered the National Gallery in London and attacked the painting “The Venus of the mirror” of Diego Velázquez with a meat-knife as a sign of protest.
Through my paintings Pinte Ud! about self-portraits of woman painters I try to rethink about the difficulties they had by their gender limitations as workers. I try to reflect, about what Richardson wanted to question with that action? What was over the shoulders of women in the early XX century? And if it is so different from what Women carry today?
I am interested in the current implications that the self-portraits of these painters represent through my contemporary pictorial practice, and the reconstructions of meaning that they take today, to review the history of art and contribute to a
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