HISTÓRIA DO BRASIL: LITLE BOYS & GIRLS , 1975-2012

The artist worked in several of her works on the stereotyped images of the natives of Brazil, sometimes taken from tourist postcards and other times from ethnographic documents.

In Historia do Brasil, illustrated in chapters, the photographs of indigenous women are much more objective than the Western portrait due to wear and tear. These present another type of femininity linked to nature, they mask an androgynous face that reveals a portrait linked to artifice, a constructed identity.

As a result, neither of the two representations, indigenous (related to the natural) or western (related to the artificial), seem to be complete. The first ones are damaged, they show with the broken the superficiality, the two-dimensionality of the image. The second is opaque, his vision has been replaced by representation, it is not known if he sees through the images or if he is blinded by them, in fact, the subject can no longer represent himself or represent the other in its entirety.

It is very clear in her work a series of rethinking that emerged in the 1960s with the rise of feminist and countercultural movements. She questioning the notions of public and private. Gender relations are also questioned, such as family life, sexuality, the division of labor, the demarcation of role and gender differences.

HISTÓRIA DO BRASIL: LITLE BOYS & GIRLS , 1975-2012

The artist worked in several of her works on the stereotyped images of the natives of Brazil, sometimes taken from tourist postcards and other times from ethnographic documents.

In Historia do Brasil, illustrated in chapters, the photographs of indigenous women are much more objective than the Western portrait due to wear and tear. These present another type of femininity linked to nature, they mask an androgynous face that reveals a portrait linked to artifice, a constructed identity.

As a result, neither of the two representations, indigenous (related to the natural) or western (related to the artificial), seem to be complete. The first ones are damaged, they show with the broken the superficiality, the two-dimensionality of the image. The second is opaque, his vision has been replaced by representation, it is not known if he sees through the images or if he is blinded by them, in fact, the subject can no longer represent himself or represent the other in its entirety.

It is very clear in her work a series of rethinking that emerged in the 1960s with the rise of feminist and countercultural movements. She questioning the notions of public and private. Gender relations are also questioned, such as family life, sexuality, the division of labor, the demarcation of role and gender differences.