Silvina Batista lives in a permanent transformation, and this is clearly seen in her work “Self-portraits”, since the end of 2019 her introspection has intensified in order to find the ideal model, that is, herself.
Her work is crude, it is rough, it is deep, darkness is often the starting point, loneliness, skin, hidden desires ... An enchanted garden, mirrors ...
Her house, her garden, her story is always present, she does not forget, she feels and spits
Several times Silvina cites Francesca Woodman as an inspiration for her work, I think there is a beginning in these self-portraits, a reference that later ceases to be Woodman to be an authentic Batista, she no longer generalizes fears, she makes them flesh, and with each It can be said that there is also a need to show the world how it is, how its body and soul are, and this for artists is part of their "healing"
Here there are no subtleties, here there is frontality, there is a saying things head-on, there are screams in each image, there is a search for salvation, for recognition.
We can divide these series into 3 parts, always with a digital photograph that somehow simulates being analog, or this work is technically approached with one or two shots at the most, with a job as in ancient times, before the digital age, as Being working on film, the square format, such as a 6 x 6 mm medium format, give the series a certain classicism.
A first that brings together most of them, with a careful black and white and a certain irreverence against the standard composition modes, Silvina peels off her skin, and shows her insides, in times of confinement, of pandemic she manages to find, inspect beyond his own body, re-knowing himself.
In the later stage the color, subtle, as shy, manages to be aggressive and strong, to say present, there is life, there is resurgence, certain things are painted, certain moments, there is a mixture of surrealism, of unreal, always in each image of each series
And the last stage is a Batista transforming a reality into another story with double exposures, she integrates with the context, with the shapes around her, unfolds as if she were in two places at the same time, Silvina is already a everything.
Self-knowledge is essential to be able to reflect on the outside, "I look outside for what I have inside"
