Sandra Vasquez de la Horra builds her sensual and provocative imaginary on the presentation of the body in a very complex psychological and ethno- cultural contextualization in which the black magic, the religious and mystical fantasy and the connotative capacity of language play a central role.
Throughout her work, the artist has built a repertoire of motifs, a profane and eclectic pantheon where archaic archetypes (death, birth, time), Classical myths , rural figures, urban characters and contingent political agents emerge as a dark imagery, renewing their urge of death and life.
As an extended operation of engraving, the wax bath seals the work, setting deeply the lines, and the papers turn out ochre, translucent and precarious. Gradually, the drawings become papyrus and skin—and the dark inscriptions thrill both as ancient irreverent signs and as cool contemporary tattoos.
Mounted unframed directly on the wall, the quasi- archeological and organic pieces form a non-lineal drawing installation, an oval, a spiral or a constellation. Likewise the popular and intriguing ex-votos’ walls, sVásquez de la Horra’s arrangements are driven by the baroque principles; though, their desire of salvation is quite profane and contingent: the rearrangement and restoration of memory.
