Para que me calientes por la noche, 2002
80 pairs of embroidered slippers, dimensions variable
The command of need and the principle of risk are undoubtedly the most striking aspects of the work of Ana Pérez-Quiroga. And this because where her work deals with the piece by piece dismantling of personal experiences and real and performing situations created by herself, the aim of the artist is for each project to establish a relation of complicity based on a perspective of challenge sharing: something that comprehends both the disclosure of subtle transgressions and their reception free from moralistic construing. Such characteristics of her work were already enunciated in Breviário do Quotidiano #1 - Excuse Me Could I Have a Blanket? (1999), and in Breviário do Quotidiano #2 (1999), pieces where the several trivial objects gathered were a testimony to their stealing by the very artist in different contexts; and more recently, they also ruled her piece Odeio ser gorda, come?me por favor! #2 (2002). In this last work, the title’s sentence inscribed on the multiple porcelain dishes, which the work is made up of, appeared irreducibly connected with her own body’s image. As a stressing addition to the factors evidenced, there is still this biographical quality of her work and an always?open possibility of establishing a continuous interaction between the motivations of the reason of the self and the wider perspectives of universal being.
In her present individual exhibition diz que me amas, dedicated to the world of affections and love relationships, it is possible to sustain the presence of a wider and more significant combination of referential directions. Similarly to previous works, there remains the more private record, which appears very particularly reflected in the labyrinth structure of personal thoughts and allusions that ornament the about eighty pairs of slippers shown in para que me calientes por la noche. However, taking her approach in its whole, the plan of public domain and a sense of object appropriation founded on the effects of the spectacular and advertising levels seem to stand out. As an example, we could refer the neon diz que me amas and the popular attraction amo?te, não te amo, a machine that in exchange for coins and some persistence rewards the player with stuffed hearts. Where exemplifying different strategies of the exercise of attraction, sometimes resorting to ironical means (fairly evident in why not sneeze?), there is no doubt that these are the forms that aim at mimicking the very dynamics of the game of seduction and at unchaining a critical distancing vis?à-?vis the clichés of its ritual expression.
Sandra Vieira Jürgens