Being Mexican, I have a cultural obsession with death. For four years I dedicate myself to photographing dead children in Mexico City, while accompanying a doctor to perform different investigations.
Many of my images lose control of their position and vertical become horizontal or the characters get upside down because they have a magical and perverse meaning within the universe of Mexican witchcraft. It is to wish death to the characters that were photographed.
© Liza Ambrossio
The constant trimming of the legs in "The rage of devotion" has an ancient relationship with the Mexican indigenous imagery. I let myself become "The Nahual" who is a type of Mexican witch with the ability to kill for revenge. To kill for revenge requires cutting her legs in a violent way, hiding her legs in their house. Then it takes the shape of an animal like a crow, a wolf or a dog. Kill the person who has displeased him and to return to his human form he puts on his legs again and recovers completely without raising any suspicion of having been responsible for the death of someone. I decide to kill my relationship with the family, cultural, religious, gender (…) structure.
© Liza Ambrossio
Self-portrait intervened with mascara on my silhouette. I have a strong relationship with ancient spirituality, inherent in all human beings, but forgotten due to the fear of connecting with others and excessive capitalism. I think that when your angels abandon you, your demons come to help you and maybe I think it is likely that the dark side we all have is more important in the construction of personality than what culture and social structures It force to be.
© Liza Ambrossio
This image is the testimony of the death of my great-grandfather. In the image, all women act as witches, powerful and elevated. While men are afraid. They are performing a post-mortem ritual. The man's hands are tied with a black ribbon to keep him from coming back from beyond. And so they can be free to make a new life.
© Liza Ambrossio
All my night images are photographed in the early hours when I worked for the police press or “Mexican red note” when I had just left my mother’s house. In them I discovered that all the chaos that was inside me was also the trace of the chaos that it was outside of me. In my country there is a war that is not talked about, and I started to face a war against the machismo exercised by the women of my family towards me.
© Liza Ambrossio
All my night images are photographed in the early hours when I worked for the police press or “Mexican red note” when I had just left my mother’s house. In them I discovered that all the chaos that was inside me was also the trace of the chaos that it was outside of me. In my country there is a war that is not talked about, and I started to face a war against the machismo exercised by the women of my family towards me.
© Liza Ambrossio
All my night images are photographed in the early hours when I worked for the police press or “Mexican red note” when I had just left my mother’s house. In them I discovered that all the chaos that was inside me was also the trace of the chaos that it was outside of me. In my country there is a war that is not talked about, and I started to face a war against the machismo exercised by the women of my family towards me.
© Liza Ambrossio