In this project in continuous process faithful to my career as an artist and as a woman heir to a line of witches that has passed from generation to generation, is exclusively feminine and goes from mother to daughter; and that refers to the mestizo origin of my family between Mexico, Asia, and Europe. To that practice of witchcraft that on a personal level had caused me so much shame during my childhood and adolescence, after trying to understand it for a long time, I now observe it with tenderness and as a kind of symbolic reaction and psychic-ritualistic defense against an extremely exterminating culture, which also promotes hatred and the destruction of women towards women, something that I have called in my projects as “female machismo”. “The witch stage” renews my need to explore my work from different production angles, for which I have referred, so far and in a non-frontal way, to media cases such as:

The mob of 11,535 women killed or declared missing until the end of 2020 in Mexican territory, the tumultuous rape of “La manada” in 2016 in Spain, the femicide of my neighbor’s sister by her boyfriend in Nantes, France, linked to the intimacy of my personal history and the Japanese aesthetic of the eroguru.

In this project in progress, I was born the desire to draw a visual monograph attached to sounds in the form of a photo and video, which relates the crisis of violence against women, not from the male dictatorial gaze, but almost from the psychic illness, from the curse, the self-extermination, the pandemic of widespread violence, of which I believe that all of us at one point in our lives have been prey. My artistic search represents what happened after the crime, as Truman Capote did in his time, with non Fiction, -in an almost persecutory case of ghosts (unfinished stories) -, but in my fantasy, there is also finding myself with other women witches, with other micro-stories that incidentally add to the hymn of this series.

I cannot explain in a simple way phenomenon that I consider to have lost the proportions of hatred and the use of women as objects of desire and waste, accepted, perpetuated, or denied by our own gender due to the macho culture in which the great part of us grew up, I would like to generate an approximation between the real and the fantastic of how women today continue to be ambushed, chastened and erased, like witches who use their charms to manipulate patriarchal institutions designed in a failed way and poisoned by a notion of control and power misunderstood.

Going through “The Witch Stage” means for me to abandon the natural place: raising children, pleasure and unconditional support for the professional and personal growth of the men around us, endure, endure, keep in balance and united to the family, not criticize religion, nor the acts of impunity, cowardice, and barbarism of the state, accept being trained, etc. I refer to myself and to all the wrong women, for whom necromancy represents the allegorical universe of a primarily feminine activity that has been obscured by a system that designates every woman with more power, vision, and ambition than society as an enemy of society. that corresponds to him.

In “The Witch Stage” I draw a space where the magicians are independent beings and little concerned about the archetypal standards of the world and hierarchical ethics. I consider the act of dropping as a series of metaphorical and bucolic rituals with the possibility of transmuting to a mental state and modifying the reality of those who practice it. Worshiping my multicultural family history, psychomagic, the Italian film tradition that represents social class clashes at the same time as the contempt and satirical elevation of its women, the eroguru and the American feminist movement of the 60s WITCH that I considered that the cultured, revolutionary and progressive society intended a renewal but not including women and that is why the machista schemes and violence against women are repeated to this day intergenerationally, this documentary fiction is an act of cathartic and critical exploration that embodies a kind of social psychoanalysis, explaining why some women of my generation and earlier consider ourselves witches in a space of reality that surpasses us due to its burden of violence, rescuing the magic-feminism connection with documented encounters with sorceresses, activists, femmes fatal, writers, etc. Conjuring in my work a neo-feminist performative act archived in images that seek the re-interpretation of the pictorial iconography of the witch and madness, presented in an exhibition installation format, texts, objects, performance, paintings, audios, photos, video, and photo book.