quién se come a quién
oil on canvas, 3' x 5', March 2023 $3500
Named after a Spanish saying, quién se come a quién (2023) uses fish as a representation of self to visually explore notions of introspective naivety and the pursuit of ease. The phrase translates to “who eats who”; its significance extends to various literary mythological motifs like the Ouroboros, a snake that consumes its own tail, and power structures within the animal food chain. The title mimics its literary origins by evoking the subtle malevolence of self-consumption as a symbol of the complexities and power dynamics influencing femininity and its relation to cultural identity. while shifting its focus to explore the intricate power dynamics that command experiences of modern femininity.
This piece visually portrays the idiom "fish out of water" by creating tension and self-directed apprehension. While fish are commonly recognized as symbols of perseverance, their lifeless and raw appearance on this canvas renders them vulnerable. Acting as a conduit for female frustration and a reflection of beauty and empowerment, this intensely personal work depicts the consumption of a self-reflective entity as a means of feminine catharsis, taking complete control of a parallel material body. The dramatically lit, surreal scene of a young woman voraciously eating fish carcasses mimics the desperation and restlessness that accompanies the complex introspective journey to gain control of an elusive sense of self.
Despite the surreal subject matter, the inclusion of everyday objects like a pole, water bottle, and messy table setting implies that this scene takes place in a plausible reality. The imposing scale of this piece places the viewer in a position akin to that of the subject, confronting the figure's beauty while evoking a sense of unease. Through its unique and nuanced expression of the human condition, this work invites contemplation and fosters a dialogue about the intricate nature of personal identity. Raw tilapias and trout hold cultural significance as staples in various Colombian dishes, anchoring the piece to my cultural identity and my sentiments of disconnect towards my place and heritage as a Colombian-Canadian woman. The palpable yearning on the figure's face as she eats the fish encapsulates the fervent pursuit of belonging and the disconcerting reality of feeling adrift within one's culture. This intimate piece delves into discourses of identity that often exist at the periphery of mainstream cultural dialogue.
