Wynnie Minerva's work transits and expands the limits of the flesh, the body, and desire. They does not paint mere fictions but bodily possibilities: as if the brush did not connect with their hand but with their stomach, with their ears, with their uterus, with their tongue, esophagus, intestines and nails. Their paintings are a vibrant extension of their body, and their body is an erotic and synthetic field of plastic exploration. Their pieces are both pictorial and performative. The pigment on the fabric and the plastic operate at the same level as the incisions they decides to make on their skin: both are technologies aimed at disrupting the normative truth of sex and gender. Both allow them to pollute and cross the violent frontiers of sexual binaryism.
Their creative itinerary in recent years reveals a committed and untamed practice, far from a mere hedonistic self-absorption. Their work is the echo...of a furious collectivity that refuses to accept patriarchal fantasies and heterosexual paradises shaped by the standard. Their early sculptural research on genital anatomies ("The Other Sex", 2018) led to an exploration of the political possibilities of the dildo to undo heterosexual contracts ("Sex Machine", 2019). Their next project was a reckoning of institutionalized misogyny and male authority (“Sweet Castrator,” 2020), painting a series of landscapes where stalkers and predators are hunted and besieged. This also appears in their personal liking for BDSM –and the submission of male bodies–, whose forms of experimentation and sexual play moves towards an intense and expressive painting. Always loaded with autobiographical components, from their work springs the urgency to confront impunity as well as the structure of racial, sexual and class violence that define the contours of the different forms of patriarchal violence.
For their fifth solo exhibition, Wynnie continues to place his body at the center of his practice, albeit this time from a deeply intimate and healing dimension. This exhibition is, first of all, an invitation to celebrate with them the changes that their body has requested. In a world where difference is pathologized and nonnormative gender identities are criminalized, any modification that involves disrupting binary signs seems to demand medical or psychiatric explanations - always anchored in a heterosexual perspective. But here there are no justifications because Wynnie does not owe them to anyone. They literally take us to the operating table but to excise the idea of sexuality as a biological fact. The artist decided to close their vagina to open up different possibilities of existing. The closure is actually a grand reopening that allows you to rebuild, acknowledge and reconcile.
Miguel A. López
Entrada actualizada el el 01 dic de 2021
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