“In my work there is a continuum, I could also call it variations on the same theme. Small chapters that almost always point to the same thing. They are closed, marginal spaces, spaces of minorities. One learns to navigate worlds that are closer than one imagined, it is as if one had always known the way.
As a woman, I am subordinate to a specific space that I find natural to explore: the marginal. A need to break free.”
-Paz Errázuriz
“With this series, first exhibited at the Australian Center for Photography in 1987, Errázuriz explores the trade of sex workers, staging their cosmetic transformation, the prosthetic construction of these corner-loving bodies. With her camera, the artist intervenes in the rooms where they produce a sophisticated iconographic review of the sexed body. For La manzana de Adán does not conceal the historic paraphernalia required to feminize a body, to place a sign on an epidermal surface to which it has not been assigned. From its title, La manzana de Adán references the use of a velvet ribbon—this prosthesis conceals the protrusion capable of revealing a body’s transvestism.”
-Javier Guerrero
“We said that the photographs in El infarto del alma are not strictly images of madness, because madness is not something that can pass through a developer tank and come out as an image, and if it were, then madness would no longer be there. For this very reason, because it is ungraspable, we ceaselessly inquire about it. And that is what Paz Errázuriz does with her photos: she offers them as a space of hospitality that accepts the arrival of a strange body without casting a taxonomic sanction upon it, but rather exploring what happens between one body and another, including her own, including ours. And what is here this strange body? No longer madness but love. Of the thirty-eight photographs that make up the book, thirty-five depict couples formed in confinement.”
-Paz López
