ARTE & COTIDIANIDAD
But, how could I begin to describe Miranda Varo's art?
Miranda Varo is perfect.
She has 2 paintings with corn and a baptism with Tonayan
I heard she was collecting things at the border.
I hear she's a high-performance athlete.
Her favorite movies are Tangled and 300.
She once saw a boy's pants with poop lying next to the border wall.
I found her on TikTok once... and it was great.
Her work, funny and irreverent, combines very well with TikTok and IG, and we can find it suddenly in the form of a corn cart with Matisse's dancers, very gen Z, very critical, her art uses objects as a narrative element, where each painting is a story, and each meme, a thought.
Corn on the cob, plugs, shoes, "paquetaxos", "caguamas" and others, are positioned at the central point, losing its quality inert and weaving stories beyond their mere existence, as she herself says, “the objects are not just objects, they are because one person took them, and tell things about people, more than objects, are adjectives that can define people”, and that is how these common elements, they are transformed into crumbs from the presence and traces of the feeling, becoming operational part of the stories of life that surround us, and we don't always recognize.
What does tragedy look like? It can be a pair of shoes left by the wall, or pieces of a ladder to jump. The number of stories that tell what we are leaving opens the possibility of experiencing and understanding experiences of our own and others. Mexicalense completely (fully commit), her experience on the border goes through all aspects of her life, family, school, training, culture, everything is permeated by the specific conditions that this geographical event establishes. Miranda believes that part of her fascination with things started with exposure to the USA and its aggressive culture of the thing, that voracity to own things, fueled by an infinity of options that, sometimes, looks like a girl in a Walmart aisle trying to understand why there are 40 different juice options.
The other part came from the ”northern paradigm of materialism", that ironic dynamic that occurs in the population that experiences it and in the normalization of tragedies and objects, such as the wall that point out differences but drag permanence. The border grants what it snatches away, and what we leave in that tug-of-war becomes a mark that we touched the world.
As a high performance athlete, Miranda had the opportunity to travel the country and meet people from different states, which led her to leave her immediate reality and meet other perspectives, realizing that there are experiences and pains that go through all Mexas (mexican people). Seeing and living injustice, the diversion of resources and the abuse of power made her more critical, more vocal, while discipline and exercise deepened the relationship with her body, and while neither is the center of her art, it is a substantial part of its structure and depth.
But as we see in her paintings, not everything is critic and tragedy, at the same time that pain exists in buckets in life, it is always accompanied by laughter, half directed by the absurd, and it is this particular intersection where Miranda Varo lives, crying and smiling, smiling and painting, her art lands with viscerality what many of us once thought.
Life is sad, but also funny and absurd, in Miranda's words "not everyone has to have their heads up their asses to make art", it can be accessible, it can be digestible and that it relates to anyone's life, not just certain circles. The art doesn't owe anyone sobriety, in the same way that life rarely peaks it, the result of not wanting a monotonous and closed art and at the same time, to want it close to the heart, and the thought is what we see in the artistic practice of Miranda Varo and that maybe, we should take a little more time to think about the life and art: for it to be awesome and tell us something.