In my artistic exploration, I found myself surrounded by a diverse array of sculptures, ranging from Catholic saints to figures from Umbanda and Candomblé, alongside images from pornographic magazines. Within this eclectic mix, I embarked on a project that required the transformation of a bride into something resembling a phallic ice cream cone.
Armed with a scalpel, I delicately removed the bride from an old photograph dating back to the 1960s – a thick, black-and-white image infused with silver salts, its surface warped and aged. Through the lens of a 5-degree magnification, I entered the world of this “newlywed,” witnessing her vibrant eyes, discerning the intricacies of her wrinkled fabric.
As I carefully circled the bride, she unexpectedly leaped out of the photograph. Glancing to the side, I discovered the groom wearing a smile. The bride seemed relieved, as if liberated from perpetual confinement. Both whispered unintelligible words, their panting breaths merging into a harmonious symphony. Amidst the vibrant hues of saints, exus, and pombas giras, I embarked on a series titled “Tradition, Family, and Appropriation.”
I became entranced by these peculiar newlyweds, their nervous countenances revealing a brink-of-abyss emotion, smiles contorted in cramps. Dressed for a June square dance, they conveyed happiness with an undercurrent of falsehood. This series captures the essence of “tradition, family, and appropriation,” a journey guided by the whims of these enigmatic, quasi-festively adorned figures.
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