Alejandra Glez visual artist’s artwork (Havana, 1996), is set between the corporeal and the anthropological. In both cases, she is aimed to explore the feminine identity, putting into practice current studies about feminist theories, although –undoubtedly- her visual production goes beyond “feminism”. However, the artist starts naturalizing nudity as a pacific exercise of personal deliverance and release. Then, she attends the body serialization as an almost dominant topic within her practice, in order to enquire about the various dramas and intimacies that assist the woman subject in general –including from the menstrual process to other problematics related to sexual orientation-.
Formats such as photography in the first place, collage, installation, performance and video arte, are valid within Alejandra’s imaginary in order to disrupt the codes that stigmatize femininity, in a society we distinguish as patriarchal, with the purpose of proceed with a ludic revelation of herself and those models whose call her attention. Self- reflection, intertextuality and quotes to particular outstanding photographers are constants features within the production of this young artist, who turns her own traumas into unique images.