The main focus of my work is the woman: her history, her struggles for emancipation and equality, and how the feminine has been constructed culturally. I am among the few artists of my generation who define themselves as feminist. This decision is appropriate not only because of the political dimension of my work, but because it does not adhere to any particular language or style, nor is it identified with specific techniques or formats. I organize my work in long-term projects, and for each one develop a unique language and methodology.
One of my most intimate and intuitive projects is Womankind, which consists of several series of digital photographic collages. These were made using found archival images; images from the internet, magazines, books; and my own photographs. In these compositions emerge, on one side, my complex cultural identity with Creole, Chinese, and African roots; and on the other side, a dreamlike, lost world of European culture transmitted by my German grandmother, exiled by the Nazis for marrying my Peruvian grandfather.
The series of Womankind focus on two of the most important moments in women’s history: the British suffrage movement of the early twentieth century, and the introduction of the pill in the 1960s, which contributed significantly to the emancipation of women, transforming their relationships with men.
Womankind seeks to redefine the meaning of the images upon which the history of women has been built since the invention of photography, where traditionally they have been relegated to the background in paternalistic, hegemonic stories. In my collages, I rescue a female historical memory, reflecting both our political struggles and the complexity of our private worlds.