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ARTE & COTIDIANIDAD

SILVINA

Daring, suggestive, voluptuous and sensual. Are women drawn by Fabiola Espiga like that?, or is it how Fabiola Espiga shows herself through her drawing?

Scrolling on the Instagram profile of this artist originally from Durango is an exciting erotic journey. After observing the small sample of works shown in the first grid of nine photos, I found myself wanting more. With avid and eager eyes, I slid the scrollbar to the first available posts on her @fabiola_espiga account and what I found was fascinating.

Her Instagram reveals her own technical and thematic evolution, stalking her is an encounter with a Fabiola who, turned into a digital illustration, she rejoices alone in her pleasure and through corporality expresses her concerns. The use of digital tools is more than a chosen technique. From the little horns she added to her 2018 selfies, Fabiola has built an artistic discourse that combines photography, editing and drawing. 

The selfie, the tag, and the gesture of drawing with digital pencils constitute an esthetic in itself that is framed in our contemporary digital culture.  In these photographs, we do not only find the face of an artist, but a pair of fundamental pieces of her creative bet. I could even venture to say that Fabiola Espiga's work is configured within her Instagram exhibition. Nowadays many artists conceive their Instagram accounts as a presentation folder, others more as a sales space, but in few profiles I have found an arrangement of elements that consciously give shape to an artistic discourse.

Creating a good Instagram profile involves selecting. A little history, you know, post from at least 3 years ago, some video, use of hashtags, photos of work, exhibitions, events, collaborations, etc. And of course, follow some popular trends on this social network, such as the famous #BestNine. A post consisting of a grid of nine images that are chosen from among your most outstanding publications.

 

Of course, within the #BestNine post that Fabiola shared in February 2019, one of the images that make up the grid is a photograph of her face. A selfie, which seems to have been taken while observing herself in the mirror through the screen of her cell phone, shows her full lips, and again, a digital editing gesture: small luminous flashes that not only exalt the small photograph, but make the self-portrait the protagonist of the selection of nine.

This #BestNine is no coincidence, Fabiola's face is part of her aesthetic bet. She, as the subject of her works, appears in illustrations that portray female demons with thick lips, eyeliner, open legs, kneading, or showing breasts. However, what the viewer soon realizes is that those women who seem perverse do not belong to them.

They are female demons that challenge the viewer by inquiring into their hidden passions. Their poses and their attitude insist on the imprinted need to possess that many minds have when observing carnosities. Thick lips are not the invitation to a blowjob, a pair of naked tits, they are not a banquet offered for you. Not even a leg up or a thong represent the treat. In the artist's own words, “sensuality and sexuality are important presences that appear within my work, since for me, they represent a dichotomy between strength and vulnerability, [...] it is not a sensuality with bluffs or to show itself to an audience, it is something like a moment alone.”

That is why Fabiola's drawings and photographs seem intimate and disturbing in the face of a social context that tends to hypersexualize female bodies for consumption. By conceiving herself from her corporality and from the features that characterize her, Fabiola defies the canons that impose thin complexions and dares to explore an eroticism that does not seek to satisfy male looks.

As I said, scrolling on the Instagram profile of @fabiola_espiga is an exciting erotic journey, of which I have wanted to make my collection of memories. Through my #BestNine selection I propose a reading of her work based on digital aesthetics and her face as the genesis of her artistic production.