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
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