About The Work
Moving from the individual towards the collective, artist Carmen Mariscal lays out her concern with the feminine condition in marriage, which is both intimate and social. In Spanish the words esposa (wife), esposas (handcuffs) and esposada (handcuffed), are a linguistic coincidence with a feminist intellectual intention, and are the origin of the installation La esposa esposada (the handcuffed wife).
Carmen photographed twenty women “wearing” a wedding dress made up of more than a thousand small steel handcuffs in a shape reminiscent of the 19th century crinolines, with steel hoops that imprison the body. To do this, she called upon the associations of women who have suffered in difficult marital situations or forced exile. From the handcuffs of the wedding dress to the locks on the metal house sculptures, the symbolism of both conjugal and domestic traps are confirmed.
Courtesy of Ana Mas Projects
Photograph
Photograph on archival photo paper
11.81 x 17.72 in
30.0 x 45.0 cm
This work comes with a Certificate of Authenticity
About The Work
Moving from the individual towards the collective, artist Carmen Mariscal lays out her concern with the feminine condition in marriage, which is both intimate and social. In Spanish the words esposa (wife), esposas (handcuffs) and esposada (handcuffed), are a linguistic coincidence with a feminist intellectual intention, and are the origin of the installation La esposa esposada (the handcuffed wife).
Carmen photographed twenty women “wearing” a wedding dress made up of more than a thousand small steel handcuffs in a shape reminiscent of the 19th century crinolines, with steel hoops that imprison the body. To do this, she called upon the associations of women who have suffered in difficult marital situations or forced exile. From the handcuffs of the wedding dress to the locks on the metal house sculptures, the symbolism of both conjugal and domestic traps are confirmed.
Courtesy of Ana Mas Projects
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