The iconography of the crown of thorns, evoking the humiliation and the wound of the Catholic Passion to which female bodies are also subjected, joins the object that frames the painted image to intensify the iconic correlation between the frame itself and sharp-edged objectuality. At the same time, it addresses the self-portrait as yet another setting of patriarchal and heteronormative violence.

Tríptico, 1990
Oil on canvas with tinplate frame
Gift of Rocío Mireles, 2020