The girl with a shoe Painting

This series of works is called A SUPREME FEMININE and aims to research a subject that, due to the complexity of its meanings, has constantly generated discussions about the thin border between nudity and vulgarity, art and indecency. The status of nudity has varied considerably between these limits throughout the history of art. Feminine nudity has been and continues to be found in the field of visual arts, with its erotic aspect being associated with innocence, vulnerability or playfulness. Through time, it has been given polarizing features some of them under the aura of idealization and others dominated by mysticism of mystification, femininity being defined by attributes such as angelic beauty, grace, delicacy, sensitivity, fragility but also by power of seduction, mystery, and demonism. Mostly we understand nudes as being a natural state but nudes in art are the product of our subjectivity, being full of meaning, often contradictory. This is obvious when it comes to the relationship between nudity, sexuality, and gender. The interpretation of the meaning attributed to nudity can only be made by analyzing the cultural context. At the same time, depending on the historical period, we can see in some societies a higher interest in promoting certain canons of beauty. A SUPREME FEMININE explores the inherent ambiguities of how femininity is both erotised and devalued by its representation in Western culture. The nuances of my paintings are altered versions of erotic, realistic, easy-to-recognize commercial images, located in an undefined space or in a natural setting. Viewed as a whole, the paintings propose simple compositional situations in which the faces of the characters are rarely individualized, and the undefined quality of the painting depicts discrete silhouettes. By dissolving contours and enveloping them in a luminous, ethereal atmosphere, tension is created between what is veiled and what is revealed. The seductive, voluptuous characters that appear to be created out of fragments face the spectator's gaze. Without being idealized, they are presented as a source of temptation and pleasure, challenging and undermining at the same time the traditional notion of male gaze. Recalling expressionist painting gestures combined with feminist discourse, conceptual art, and eroticism, the relationship between art and feminine beauty, or between models of art history and supermodels of the twentieth century, my works reject prejudices and how they are fed by the media. Thus, the subject lies between the classical nude narrative and the immediate physical reality, the paintings not only resemble images that incite the masculine gaze but with profound meanings that evoke distinct cultural references.