Auto destrucción, 2022
Triptych, print on Hahnemuhle Museum Etching
40 × 60 cm | 15 3/4 × 23 5/8 in.
Edition 2/3 + 2 APs
Certificate provided by the artist
Bessancourt
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About this artwork
"In relation to Ambrossio's work and as Chris Baldwick observed, in his introduction to a compilation of gothic narratives, a legitimate gothic work "must combine an unsettling sense of heritage in time with a claustrophobic sense of confinement in space, both dimensions reinforcing each other to produce an impression of maddening descent into disintegration. This "topology of horror," is a primary reaction to social, technological, and political change.” Cuahutemoc Medina.
"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.” Liza Ambrossio.
Starting as a scene of professional jealousy with the artist's last Mexican ex-partner after a beautiful comment from a powerful art curator about her work that would overshadow her suitor's work, the confrontation ended in a strong blow to her face and the shared studio set on fire. The work is part of the Collection Nationale-Musée du Quai Branly – Jacques Chirac and Nadine Foundation, and l'Académie de France collection.
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