The Indigestable is consisted by a serie of seven digital self-portraits,
in wich I use overlapping images to create an artistic atmosphere
relating the photos to each other, because it is of great importance
the course of the essay and the time of its realization. For these
photos, I used materials such as gourds and old mattresses from the
house where I grew up, to create anomalies in my body. Since it’s a
work of self-portrait, at the time of the essay, I try to express all
indigestible sensations in my soul, that are directly related to my
external environment, because living in a big city like São Paulo, the
feeling of having and, at the same time, not having possession it is
constant, whether in professional or intimate relationships, it’s always
a game of loss anf gain.
Hence the title of the work, indigestible,
says much more than a imagetic troublesome, but the folly of life. The
old mattresses had a huge emotional importance for the photos,
mattressesess I slept throughout my childhood and youth, are now
parked, unused, as if my marks also remained there, dead. But
through the art, they cross my path again, and reborn differently. The
marks revealed by these mattresses are extremely intimate to my
body, they reveal the unconscious way of being there for years,
dreaming or not. And then I get that loss and gain feeling back again,
but also the feeling of having lived so many moments there in my
space of insecurity, security, distant thoughts, endless plans and pure
imagination.
Leticia Zica grew up in the city of Belo Horizonte, MG, and currently lives and studies in São Paulo, Brazil. At 21, her photographic work consists of portraits and self-portraits, and part of the relentless exercise, and perhaps endless, to express the ineffable reality of the sensitivity of her country, the people who cross her path and, of course, of herself.
The textile is present not only in your photographs, but also the work done as a student of fashion shows and a necessary tool for the composition of their paths. Through wires, and cloths and possibilities of this constant meeting where you can cover and uncover, winding and unwinding, the folly of being is embodied.
