BEATA VISCERA

Beata Viscera questions the practice of metalworking in sacred art and its association with masculinity, in contrast to the representation of women, portrayed as passive, suffering, and sacralized figures. It challenges the preconceptions associated with sacred metalworking by making the feminine the protagonist of both the artwork and the object itself, in a space where the sacred converges with the violent and the mystical aspects of nature and gender.

The production of this series draws on medieval metalworking techniques such as niello, engraving, repoussé, and chasing, applied to aluminum sheets of varying gauges. The juxtaposition of metal and drawing evokes the tension between fragility and resilience, transforming the metal support into an allegory of the body through its intervention and fragmentation.

Beata Viscera refers to the homonymous poem and polyphonic chant, which explores the Incarnation and the mystery of the Virgin Mary's virginity.