Self-portrait in red

Organic presuppositions and materiality organise this autobiographic story, where fragmentation and dispersion oppose any form of narrative, where tenderness and joy unite in a tacit agreement with violence and aggression, transmitted by the fragmentary and cumulative technique of collage. The fragments precipitate themselves in an amalgam of daily leftovers, the fiercely torn and manipulated preparatory studies of the work and drawings by her children fitting in. The painting accentuates these fragments, a material that joins and hides, a daring background that standardizes and spacializes, that simulates a fluid reading and calms the brutality of the process. Painting and collage as a gesture, as an implication of the artist's body and as the pleasure in the process, are projected onto a child's world where our first fears and desires rest.