Bilis Negra III

“For this series, the artist makes use of her father’s clinical archive, which consists of the photographic record of several patients—mostly children—who present congenital alterations in their features. Leyva selects some of these images and produces portraits that remain anonymous. She has no knowledge of the history of the individuals, neither personal or clinical. 

She first transfers the photographs to the canvas, which provides her with an initial structure, and then changes the person’s features through the act of painting. The result is a series of somewhat blurred, veiled images—a seemingly unfinished or a canceled process that appeals to the feebleness of the identity of a person once they have been archived.

- Tamayo Museum

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