AMERICA INVERTIDA

Friday, October 16, 2015

Sunday, August 09, 2015

A los Bosques Me Interno Yo

En los Bosques Me Interno Yo, 2014
Cochineal, blood, oil, acrylic and clear polymer on canvas 
24”x24”

En los Bosques Me Interno Yo is a work deeply rooted in the exploration of inherited pain, a theme that has long resonated with me as an autistic artist. The piece takes its title from the Peruvian chicha song by Los Destellos, a song that carries with it the echoes of my parents' immigrant experience and the cultural heritage they passed down to me. The lyrics, which speak to the pain of solitude, the scars left by love, and the haunting persistence of memory, serve as both an inspiration and a framework for this piece.

In creating this work, I was particularly focused on the concept of inherited pain—emotional wounds passed down through generations, which I feel deeply despite never having fully experienced love myself. As someone who is autistic, my understanding of love is not drawn from personal experience or limerence, but rather from a more abstract, almost inherited knowledge of its complexities and the pain it can cause. This understanding informs the ambiguity of the figures in the painting, who are caught in a dreamlike landscape of roses, each bloom representing both the beauty and the thorns of love and melancholic memory.

The materials I chose—oil paint, cochineal, and my own blood—are significant to this exploration. The cochineal connects the work to my Andean heritage, while the blood introduces a deeply personal, corporeal element, reflecting the visceral nature of the pain and emotion that I seek to convey. The use of these materials also allows me to bridge the gap between my personal narrative and the broader cultural discourse on identity, memory, and the immigrant experience.

Through "En los Bosques Me Interno Yo," I aim to explore the ways in which pain and love are understood, remembered, and inherited across generations, particularly within the context of cultural identity. This piece is not only a reflection of my personal experiences and inherited memories but also a broader commentary on how our identities are shaped by the landscapes—both emotional and cultural—that we inherit.

Athena Quispe

Monday, November 10, 2014

Party Entertainment

Tuesday, September 23, 2014

Quiero

uno

Monday, June 09, 2014

Pensamientos

Yo si me preguntó

En que pensara las gotas de lluvia

Al caer y sentir el vacío

Entre las alturas

Y el piso

Aveces es de nieve

En que pensara al esconder las rosas

Al esconder las calles y las luces,

Al esconder las voces.

Aunque el centro esté tranquilo,

Sansón da vueltas

Conmemorando su cabello,

Apretándo en volutas.

La humedez en que pensará,

Al hacer que los gusanos salgen

Exponiéndose en el suelo

Como cena del viajante

En que pensará las nubes del cielo

Al transformarse a conejo a cazador, de flor a sonrisa,

O corazón deformado.

En que pensará el fuego,

Al darme agua caliente de noche,

Y té caliente de día.

Al fin estoy loca,

Y se que ni nadie ni yo,

Piensa en nada.

Monday, February 24, 2014

Necrofet en Huancavelica

Thursday, January 02, 2014

Wiphala; Rainbow in Hell

Cochinilla, sangre humana, óleo
Wiphala: Rainbow in Hell

This mixed-media work, combining oil paint, blood, and cochineal, serves as a complex meditation on the intersections of identity, cultural heritage, and the legacies of colonialism. The title references the Wiphala, the multicolored flag representing the Andean people of South America, where each hue holds distinct symbolic meanings tied to cosmology and community.

Central to this piece is the exploration of gender fluidity within pre-colonial Andean societies, contrasted against the rigid binaries imposed through colonial rule. The floating figure, characterized by its ambiguous gender—long hair juxtaposed with a visible phallus—echoes the pre-colonial reverence for dualities and the sacredness of non-binary identities. This deliberate ambiguity challenges the Eurocentric gender norms that were enforced during and after colonization, underscoring the resilience and persistence of Indigenous identities.

The materiality of the work itself is laden with cultural and historical significance. The incorporation of my blood alongside traditional cochineal pigment establishes a visceral connection to both personal and communal histories. Cochineal, historically harvested by Indigenous peoples and later exploited during colonial times, becomes a symbol of both cultural richness and the violence of exploitation. By integrating these elements, the work not only honors my Andean heritage but also critiques the ongoing impacts of colonial extraction and commodification.

Wiphala: Rainbow in Hell occupies a space between historical reflection and contemporary critique, using surreal imagery and layered symbolism to address the enduring consequences of colonialism on Indigenous identities. The work invites critical engagement with the ways in which cultural symbols are reclaimed, reinterpreted, and resisted in the face of ongoing historical trauma. Through this piece, I aim to contribute to a broader discourse on post-colonial theory, Indigenous resilience, and the complexities of cultural memory.

Athena Quispe