To harbor a fake illusion.
The backdrop of the paintings gathered in this project is the representation of the mysterious. They can be seen as an incomplete catalog of apparitions, deceptions and vestiges of other times. Painting in itself is also an illusion that can deceive us, and the sign of something that has taken place at some other time.
The photographic images that have served the artist as a starting point for these pieces were bearers of hidden meanings, evocative of past ways of understanding the relationship between the everyday and the supernatural. Bringing them to pictorial language helps Cristina to endow them with another load of meaning and mystery, leaving the final reading as open as possible.
Cristina’s work articulates an openly feminist discourse through the reappraisal of the presence of women in the history of primitive photography, as well a re-reading of their role at present. The zeitgeist of the Victorian era was that of change and vindication of the civil rights of femininity. It influenced modernity and is still present today. The dialogue that Cristina sets out between painting and photography -as artistic media- is fascinating: she literally “paints photographs”, appropriating them and endowing them with a new life.
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