I was invited by Rocío Bueno to participate in the project ‘Tú, yo, ellas, nosotras’, a group show where 12 contemporary female photographers dialogued with 12 avant-garde female artists –Meret Oppenheim in my case–.

Even though I did not want to replicate any of her works, but playing with new codes that connect with my own language instead, I did wink at some of her artworks using a pair of lavender gloves that evoke her works “Fur gloves with wooden fingers” (1936) or “Pair of gloves” (1985); a broken match as the many that appear in her work “Painter’s snack” (1972); or an orange like the one she is holding in the portrait her close friend Irène Zurkinden made of her.
My purpose was to work with the images as Meret Oppenheim played with words in her poems: with a free metric, an ambiguous meaning, a particular use of alliterations, a very playful approach, dream visions and a characteristic black humor.