Feminicidio Íntimo is a response to the invisible yet brutal violence that has been inscribed on the bodies of women across centuries. It speaks of the inherited shame, the silenced wounds, the weight of cultural conditioning that teaches us, from an early age, that our bodies are objects—territories to be modified, judged, violated, beautified, controlled.

By creating a life-size mold of my own body, I allowed myself to become a vessel—a witness not only to my story, but to a shared memory. The fragmentation in the piece is not just personal; it is historical. It reflects the dismembering of women's sovereignty through societal expectations, media representations, and the internalized belief that to exist, we must first disappear into someone else's idea of us.

The limbs are detached. The torso is punctured. The head is tilted in submission. These gestures are not theatrical—they are echoes of rituals we've been trained to perform: hold your stomach in, cross your legs, don't take up space, smile even when it hurts. We enact this performance daily, often unconsciously, often until we forget we're performing at all.

Feminicidio Íntimo is a refusal. It is my way of making visible what is usually hidden: the self-inflicted violence that stems from a system that conditions women to become estranged from their own skin. It is a mourning and a mirror. A place where the viewer is invited to recognize how violence doesn't always scream—it whispers through shame, comparison, and erasure.

Through this work, I seek not resolution but truth. To acknowledge the fracture is the first step toward integrity. I offer this body—not to be admired or pitied—but to reclaim the narrative. To say: this body is no longer a battleground. This body is mine. And in naming the intimate violence, I make space for freedom—not just for me, but for all of us.