Divine Image

His portraits of transgressors bodies, transgressed, imagined and built from the old and new standards such as television, are sterile and plastic, silicone voluptuous, that have changed the rosary and flowers by: guns, knives, guns, skulls, dryers hair and even political demands, general allegory L

In the Divine Image Series, the virgin of Mauricio Toro Goya represents a neo baroque vision of contemporary image. Chaotic and re multiple meanings, remnant of the confused and the syncretic of a colonial era where the concept ultimately prevails in an image that is transformed and a popular culture that appropriates the icons of the past and modern, which consumed in the streets, at fairs and in space (now cyber).

To Serge Gruzinsky (1) “The colonial imaginary, like today, practice contextualization and reuse, destructuring and restructuring of languages”, appears in a permanent construction of new forms and shapes.

These virgins represent seven Latin American countries, and a critical perception of the dominant power hierarchy, comparing with the religious image, the divine icon and suffered the concept of Virgin, inserted at the end of the fifteenth century, charged by the Spanish 500 years ago, and re-appears, clad new readings and appropriations.

In Divine Image, contemporary virgins are seven and brunettes (related to the conquest of America), represented by transvestites, children suffering from a restrictive culture, symbols of self-sacrifice that to get the dark shed, be transformed, in a desired identity and postponed, sexy and provocative. Virgin undressed and lush neo baroque, who pose as goddesses and women wonder, the real superheroes of a religious culture conditioning.