Zaida González | Una aguda escenografía del dolor

“It is the end and the beginning of what you asked for so much.
You should have never entrusted your heart to someone else”.

– Jorge González.

Disappointment doesn’t come from disaffection only, but also life puts us on a trial. This gives rise to Sin Lágrimas ni culpa, where Zaida González sets the intersect of many griefs through 30 artworks that are being exhibited at the Fotogalería Arcos.

It is almost like a reaction that determines pain, Zaida González Ríos (1977), creates a whole lineage of characters between families and friends and without realizing, they make part of a style based on the scenic flashback of her own existence, but also with whom she shares a fickle destiny–, which by consequence it shapes an esthetic focused on the astonishment and that has a close relation with a dual posture goes from heathen to sacred. Here is an example, this takes part in that altar where inner deities are mentioned more than once, personified in photographs of dead relatives and with the presence of the well-known performer “Hija de perra” and “Maneki-neko” or “fortune cat” a transculturized fetish that empowers the profane personality of this platform that is being decorated diligently with odd offerings, such as frogs, skulls, toys, candles and flowers. Following the ornamental costume of Mexican worship and voodoos that, in this case, it highlights an ambiguous deity inspired in Ignacio, a friend of hers that passed away recently, who pets a cat as being part of this trance without tears and fault, decorated with colorful garlands as a permanent lamentation that they carried inside, like a hidden procession.

Zaida González
Zaida González

It is known that Zaida González has an inherent talent to make superfluous into a resource that operates in its favor until it turns into a characteristic seal coming from her instinct –shrewdly feminine–, her obsessions and griefs, witnessed by her own body and worsened by her capacity to portray realities inherently humans.Like that couple disrupted by monotony, they oscillate from love to hate, or maybe by the idleness of a relationship, unable to admit their defeat. Simply said, they stay together after a huge effort, that the artist reveals with deep intensity when she exhibits the impious skin of disappointment, through a landslide of unpleasant memories represented in that happy birthday canvas or that Christmas tree that has been put aside, along with that devastated woman holding a Mickey Mouse balloon in her hands and she doesn’t hesitate when she says “I’m better off alone that in bad company”.

The special thing about Zaida is that she doesn’t look for the classic canon of feminine beauty, but she looks from the other sidewalk: the real one. From there, she shapes every one of her domestic deities with her fetish. She creates series of colorful altarpieces with worship objects and veneration, based on a renew belief: the empowerment. However, it is very important to distinguish that this not only happens when she makes something, but also letters express the same. “What I want the most in this moment, is to be at your side to finally erase this hopelessness of not seeing you, it transformed into so much pain that it almost turns into physical pain. What will I find when I get there? Will you still love me anyways? This is written in one of the letters. The lack of insecurity shows that, besides the ardent fear to infidelity, there’s also an imminent loss.

By the way, she doesn’t economize resources to fantasize with the union of the female figure and the outstanding image of those cat-headed women, which is the symbol for ferocity, represented in that pussy cat that it’s being repeated without discretion until it turns into an arrogant creature that won’t doubt brandish its machete if something is wrong. She is very conscious that her power increases when she fixes personal boundaries and wants to be the full-time dominartix that let us see recurrent feelings of abandonment, which tries to compensate with irony and divine animality as a response to a collective fraud, yet extremely intimate.

An act of contrition, glorified by that inverted unicorn goddess and virtually studded to a cross of heart-shaped and gum-colored balloons, as a part of a dream that hasn’t been accomplished yet and goes over this exhibition surrounded by a halo coming from colorful photos from the past, that represent an era where color was a chimera that no one could reach, it was like keeping on the warming pan of love or this existence full of stress, certainly portrayed by her brother Jorge: “It’s the end and the beginning of that pain you carried with you all your life”.

Zaida González
Zaida González

Zaida González makes a step forward, as she digs deeply in our Latin, Chilean and kitsch identity, that we see in cities that are exposed and where the pain is represented by the moan of the color. This fact complements the photo series from a cellphone that also decorates an entire wall with her own laments. Thousandths of a second when the artist registers and repeats to herself: I’m not going to cry, I’m not going to cry, letting go all regrets and faults to create a scenography where portraits the pain in an acute way.

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