Elle Même Sans Ses Célibataires

2010, metal structure, wedding dress, organic structures, neon lights, drawings

The calm before or after a calamity is a calamity in itself. It does not allow for moments of composure because this silence is troubling, and from the tumult of waiting or from the serenity of renunciation, the idyllic image transforms into its opposite.
 A white presence, the symbol of purity and of the feminine “demeanor”, by essence, appears in its violent version, brutally romantic, in which things apocalyptically turn upside-down. The paradox of fragility that harbors tornados is manifesting in full delicacy and force.
 Sometimes, perfection is a flaw, and sometimes stigmata makes you a hero. If we do not desire what we want, than what do we need? 
Let’s try for one second to think that a woman is not a submissive and untouched being. It is right then that we encounter the skeptical bride of an artificial concept, that is fleshless, bloodless and boneless but which radiates rawness with a magnetic presence.
 This revelation summons the start of a new saga for the feminine essence.
The world floats around her moment of upheaval. It is the only fixed point; everything else is just background noise.
 The bachelors are sitting on the side, aware of the distance. Gathered up in their emotions, folded into one another, they await the moment of reveal, even though it might never actually happen. The fight always lasts less than expected. 
She mounts the divine symbol that she used to be so linked to, by proceeding into an intimate gesture that cancels out the Immaculate Conception. 
The depths between wanting and subduing are widening and becoming abyssal.
 The once submissive now rebels. 
It is her turn to deflower.