This piece consist of a red lace lingerie set that has alterations made to its shape by the replacement of straps and accessorial elements with a burgundy rosary. The entire rosary is used to replace the straps on the bra and the heart accessory placed in between the breasts. Additionally, there is a replacement of that matching heart accessory in the lace panty. This piece was documented through a series of photographs that depict a female figure wearing the underwear and utilizing it as a still functional rosary. The title of the piece, multiuso (Figure 7), alludes to the multi-purpose aspects the object has, as it is made of both a functional rosary and a functional pair of underwear. The red light is a symbol for the over-sexualization of the female body and, questions the way women are seen specifically under a red light by others and by themselves. Photographing the underwear, which is also red, under a red light intensifies the color and unifies the composition with the monochromatic tone. The images show the rosary in use in different instances with the beads in the straps moving forwards towards the front, where traditional rosary prayers usually come to an end.
I consider the documentation of the work as part of the piece, the photographs help the object take the form of a female body and physically demonstrate the impact both elements have on the person wearing them. The photos are all close ups shot with a digital camera using a 230 mm lens that really emphasize the details of the underwear and simultaneously disregard the identity of the person wearing it, as it does not show their face. All of the photos were shot with a red reflexive light that alludes to the light commonly associated with motels or brothels like the ones located in the red light districts, also known as pleasure districts, usually found in urban areas where prostitution or sex oriented business happens. The reason for the designated name of this areas is unknown but it has been standardized globally to be used for the same districts and areas.The intention of this light is to reference places where the female body can be over-sexualized. I had multiple struggles when my body began to develop; I was only eleven years old and can clearly remember how my classmates would make fun of me for having to wear a bra and how I was constantly cat called when walking on the street. This was just the beginning of the multiple expectations coming from a religious, societal and familial point of
view. I grew up with comments that encouraged me to keep quiet, clean after my male relatives, and cover my curves while also being persuaded to be “sexy.” For example, at multiple points in my life, I have been told to lose weight so that I can look sexy instead of vulgar. I felt like my desire to celebrate my sexuality was shutdown by taboo thoughts. Costa Rica only implemented a sexuality program in 2012, when I was fifteen years old; the program was by no means comprehensive. This really limited my understanding of sex and all the essential knowledge for a healthy sexual upbringing.
This piece is ultimately how I visualize my sexuality being restricted by religion and at the same how my body is sexualized through patriarchal ideals. I challenge patriarchal structures in the same way Brazilian artist, Anna Maria Maiolino did. In her series of work titled Fotopoemação made in 1974, Maiolino holds a pair of scissors on her tongue, as if she was ready to cut it. This violent act against herself is a symbolic representation of the exclusion women face from political dialogue in Latin America.13 In a similar way, the uncomfortable underwear is worn as a representation of caged female sexuality and the photographs portray the voyeuristic objectification women face when attempting to celebrate their bodies and sexual desires.