El sepulcro, 2022

The artwork pledge

• NO POVERTY
• GOOD HEALTH AND WELL-BEING
• GENDER EQUALITY
• DECENT WORK AND ECONOMIC GROWTH
• REDUCED INEQUALITIES
• PEACE, JUSTICE, AND STRONG INSTITUTIONS
• PARTNERSHIPS FOR THE GOALS

Tags

• Death
• Drawing
• Ero guro
• Feminism
• Figurative
• France
• Memory
• Mexico
• Mexico City
• Mythology
• Paris
• Photography
• Photojournalism
• South America
• Witchcraft

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
This drawing was made by the artist in Mexico, mixing random characters from a Netflix series with marijuana. She photographed it, printed it on a transparent and thin rice paper, and I crumpled it like an instant that quickly has to pass. The image is thus wrinkled, and can be framed or not. The idea is to preserve the sculptural and organic essence of the work in relation to "The Witch Stage", which mixes languages in a more obvious way than previous series. This specific piece is designed to adapt to space, and the wrinkles are a representation of violence. It is printed on a 300-gram handmade Japanese paper, alluding to the ero guru universe.
The work is part of the Collection Nationale Musée du Quai Branly – Jacques Chirac and Nadine Foundation collection.

More artworks by Liza Ambrossio

• Liza Ambrossio Auto destrucción, 2022 TAP LAB Sold
• Liza Ambrossio Duplicidad, 2018 TAP LAB Sold
• Liza Ambrossio El rasguño, 2021 TAP LAB Sold
• Liza Ambrossio Entropia, 2022 TAP LAB Sold

See all