DEPRESSION. POSSESSION. REPRESSION.

The family archive becomes evidence of the loss of autonomy suffered by territories and bodies where silencing and repression prevails. Mental and health imbalances are layered with the geopolitical context in which these female bodies reside.

In my latest series “DEPRESSION. POSSESSION. REPRESSION.”, I represent the protection

and resilience mechanisms that women in my family used for their survival when dealing with

physical imbalances and mental disorders that gradually affected their bodies.

Through interventions I insert a constant tension into my family’s photographic archive to

represent the gap in emotional references in my matrilineal heritage. Exposing their weaknesses

and dependencies through layers of meanings, I reveal emotional, hormonal, social or cultural

gaps that prevented these women from maturing in an environment of understanding, care and

support.

To the cover-up of female health issues, and the taboos linked to mental disorders of females in

my family is added the geopolitical context in which their bodies were inserted. The multiple

family migrations between the United States and Brazil were not translatable experiences,

leaving the ancestral female bodies permeable to political ideologies, social rhetoric and

religious beliefs. I demarcate moments in which international policies, social strategies and

cultural indoctrination permeate women in my lineage, causing them to lose possession of their

own bodies.

When contextualized within a dictatorial government in Brazil, emotional gaps mimic the

historical gaps that bodies occupying spaces under censorship and oppression may carry. The

family archive becomes evidence of the eventual and inevitable loss of autonomy suffered by

territories and bodies where silencing and repression prevails.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Brains, Rio de Janeiro (2024) - Through interventions I insert a constant tension into my family’s photographic archive to represent protection and resilience mechanisms that women in my family used for their survival when dealing with physical imbalances and mental disorders that affected their bodies throughout their lives.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Miscarriages, Rio de Janeiro (2024) - This is a visual representation of pregnancies and miscarriages, Post-partum and post-miscarriage depression that accompanied generations of women in my family.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Body, Staten Island (2024) - The matriarchs of my family had experienced a series of traumatic events in their bodies - postpartum depression, miscarriage, surgical removal of the thyroid and hysterectomy - but treatments never properly addressed their imbalances.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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TV, Staten Island (2024) - Tranquilizers were freely prescribed for the treatment of women suffering with depression in the cosmopolitan American context. One of the factors that contributed to Miltown becoming enmeshed in popular culture was its use among celebrities in the movie industry. Addiction became particularly noticeable among Hollywood artists in the 1950's and 60's.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Dinner, Staten Island (2024) - When my grandparents emigrated from Rio de Janeiro to the United States, in the 1950’s, the depression she suffered throughout her adult life was treated with tranquilizers.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Wings, Queens, NY (2024) - Like my grandmmother, Gala Dali was a user of the drug Miltown. She suggested collaboration between Salvador Dali and the pharmaceutical company. A catalog with watercolors and an immersive installation representing the release of anxiety now possible through the use of tranquilizers were commissioned.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Butterfly, Queens, NY (2024) Probably one of the most extravagant marketing campaigns in the pharmaceutical industry was created exactly for the Miltown tranquilizer. In 1958, an art installation in the shape of a chrysalis was produced by Salvador Dali for the annual meeting of the American Medical Association in San Francisco.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Tranquility, New York (2024) - The drug Miltown (meprobamate) became available on the market in 1955 and quickly became the first psychotropic drug in United States history to achieve record sales. The psychological and physical dependence generated by this medication, even when taken within prescribed quantities, were ignored.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Mother, Staten Island (2024) - The extreme side effects she experienced during the use of Psychiatric drugs, culminating in suicidal behavior, were not addressed. Instead of medical treatment, promises and blessings were performed - including the offering of an ex-voto wax head in the old Metropolitan Cathedral of Rio de Janeiro to “Our Lady of the Head” asking for a cure.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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All for her, New York (2024) - My mother would listen to Father Patrick Peyton's litany on radio and television - a priest who would be funded by the C.I.A. to instigate anti-comunist fervor on the streets of Brazil promoting “Family Marches with God for Freedom” in preparation for the military coup of 1964.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Evil (2024) - The mixing of repression and religion that little by little dominated the family space did not seem so absurd. Not even the sewing of blessed medals in clothing. For years on the streets of Brazil, led by the military and the elite, thousands had been exorcising the country with rosary in hand in order to rid the country of the bodies of those so called communists.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Make-up, Brazil (2024) - Just like my body’s maturing, the dictatorship was better covered up. The core of the family chose to ignore, not to know, not to recognize the dictatorship regime in Brazil. They did the same with mental illness. The erasure of these two facts continues to this day.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Protection (2024) - Religiosity as a form of self-protection becomes an obsession beyond the mother’s body. The innocence of childhood began to be protected at any cost - the mother becomes a zealot against two growing bodies - while the emotional imbalance would gradually undermine control over her own.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Growning-up (2024) - Religiosity as a form of self-protection becomes an obsession beyond the mother’s body. The innocence of childhood began to be protected at any cost - the mother becomes a zealot against two growing bodies - while the emotional imbalance would gradually undermine control over her own.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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Birthday cake, Brazil (2024) - My childhood came and went during a dictatorial regime, without the knowledge of stories of women who resisted the dictatorial regime. To the cover-up of feminine issues, and the taboos linked to their mental disorders, is added the geopolitical context in which the female bodies in my family were inserted.

© Jennifer Cabral - Image from the DEPRESSION. POSSESSION. REPRESSION. photography project
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7th floor, Brazil (2024) - We installed bars on the windows on the seventh floor apartment and admired the landscape as if they weren’t there. My mother attempted suicide attempt only once, and never again. Miracles do happen.