It’s easy to say my art relates to all women in Ecuador, but it doesn’t. I began my investigation in the context of an exploration of women living in Ecuador in 2009, but it veered towards a fusion of all my inspirations, beliefs and surroundings. Although a native South American, I have not grown up in the conservative environment which I believe continues to prevail in this culture, and which I have chosen to explore as the focus of my work. Consequently, I am exploring this culture with the purpose of observing.
My influences have come from examples and methods of Feminist artists such as Miriam Schapiro and Judy Chicago who also incorporate everyday “women’s work” into their art. However, my main source of influence has been Oswaldo Viteri, an Ecuadorian artist who focuses on the connection between past and present, history, and religion and who uses native textiles and materials to assemble his art. My media mirrors his, since I assemble on wooden panels with the use of burlap, straw, spoons, indigenous textiles, and native dolls. This discovery is what allowed me to connect my ideas concerning disenfranchised women in Ecuador.
In “Crucifixión Obligatoria” I combine different factors while speaking of the broom and spoon as the “witch” that has haunted women for years and is now being crucified. Furthermore, the importance of tradition and roots in this society is seen in “Raíces a Través del Tiempo”, as the mother passes on to her child everything that she has inherited. In “La Heroína Mal Puesta” I deal with the subject of stereotypes of women and men, and what I see as true in this society.
Crucifixion Obligatoria Assemblage
Mirar Adentro Assemblage
Raices a Traves del Tiempo Assemblage
La Heroina Mal Puesta Assemblage
Donde van Todas... Assemblage
La Corrupcion de la Falda Assemblage
1959-2009 Assemblage
My influences have come from examples and methods of Feminist artists such as Miriam Schapiro and Judy Chicago who also incorporate everyday “women’s work” into their art. However, my main source of influence has been Oswaldo Viteri, an Ecuadorian artist who focuses on the connection between past and present, history, and religion and who uses native textiles and materials to assemble his art. My media mirrors his, since I assemble on wooden panels with the use of burlap, straw, spoons, indigenous textiles, and native dolls. This discovery is what allowed me to connect my ideas concerning disenfranchised women in Ecuador.
In “Crucifixión Obligatoria” I combine different factors while speaking of the broom and spoon as the “witch” that has haunted women for years and is now being crucified. Furthermore, the importance of tradition and roots in this society is seen in “Raíces a Través del Tiempo”, as the mother passes on to her child everything that she has inherited. In “La Heroína Mal Puesta” I deal with the subject of stereotypes of women and men, and what I see as true in this society.
Crucifixion Obligatoria Assemblage
Mirar Adentro Assemblage
Raices a Traves del Tiempo Assemblage
La Heroina Mal Puesta Assemblage
Donde van Todas... Assemblage
La Corrupcion de la Falda Assemblage La Aninada Assemblage
1959-2009 Assemblage
