Self-portrait on the Borderline between Mexico and the United States (1932) by Frida KahloDetroit Institute of Arts
Frida Kahlo’s intellectual and artistic interests hinged on examining her personal experiences and asserting her own identity. She wanted to return to Mexico, where her sense of self was rooted.
In this painting, Kahlo depicted herself on the border between two worlds.
Self-portrait on the Borderline between Mexico and the United States (1932) by Frida KahloDetroit Institute of Arts
On the right, we see the industrialized United States represented by the Ford River Rouge plant, sky scrapers, and modern inventions.
Metal ducts resemble marching figures.
Self-portrait on the Borderline between Mexico and the United States (1932) by Frida KahloDetroit Institute of Arts
Machinery replaces plant life. The wires creep toward the plant's roots on the other side.
On the left, ancient Mexico is represented with verdant plant life, examples of indigenous art, and Aztec iconography.
Self-portrait on the Borderline between Mexico and the United States (1932) by Frida KahloDetroit Institute of Arts
Sculptures and fertility figures represent Mexico's ancient cultures and artistic traditions: Jalisco figure, Colima figure and a Totonaca stone skull.
Healthy plants denote life.
Self-portrait on the Borderline between Mexico and the United States (1932) by Frida KahloDetroit Institute of Arts
Kahlo stands defiantly between the two countries, perhaps asserting herself as a product of both the modern world and ancient heritage.
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