Nicole Chaput

Nicole Chaput (México, 1995) reinventa el repertorio visual de lo femenino a través de pinturas encarnadas. Su práctica muta las configuraciones anatómicas de las figuras femeninas que pueblan sus obras. Estas suntuosas irregularidades corporales corresponden con la forma en la que transforma el soporte pictórico, creando una doble deformación. Al presentar la pintura como un cuerpo iconográfico que se resiste a ser rajado por un encuadre, Chaput desafía la omnipotencia que históricamente se le ha atribuido a este medio artístico para representar los cuerpos femeninos y sus historias desde una mirada masculina. Sus obras no son experiencias estéticas pasivas: estos retratos desobedientes de la mujer reflejan modificaciones orgánicas aceleradas, consecuencias corporales a una atmósfera de hostilidad habitual. Como ocurre con las perlas, cuya inesperada forma de capas nacaradas crea el molusco como mecanismo de defensa, los cuerpos pictóricos de Nicole Chaput generan su forma guiados por su deseo de existir en la fortaleza de la anomalía.

Nicole Chaput (Mexico, 1995) reinterprets the visual repertoire of the feminine through embodied paintings. Her practice mutates the anatomical configurations of the femme figures that populate the work. These sumptuous bodily irregularities correspond to how she morphs the painting’s support itself, creating a double deformation. By presenting painting as a pictorial body that resists being slashed by a picture frame, Chaput challenges the omnipotence historically attributed to this artistic medium for representing and narrating through the male gaze- feminine bodies and their stories. Not passive aesthetic experiences, these disobedient portraits of women reflect accelerated organic modifications consequent to a body’s exposure to regular hostility. As with pearls, whose unexpected forms of nacreous layers are created by mollusks as defense mechanisms, Nicole Chaput’s femme paintings generate their own forms, guided by their desire to exist in the shell of anomaly.

 

Installation view, Embalsamada con Picante, curada por Isabel Sóndereguer, Museo de Arte Carrillo Gil (2024)

Siamesas Subcutáneas, 2022
Oil and mica particles on polypropylene paper, polyester fibers, metallic and cotton threads, satin, styrofoam, shredded polyester, fresh water pearls, and pins.
All hand stitched.
69 × 59 × 3 cm (27 ⅛ × 23 ¼ × 1 ⅛ inches)

Installation view, Convent Carpaccio, Galería Agustina Ferreyra, Puerto Rico (2023)

Hic Sunt Dracones, 2023
Exhibition view
Deli Gallery, CDMX

Exhibition view, Salted Swamp for a Sweet Slit: Cris Tufiño y Nicole Chaput, Galería Agustina Ferreyra, México (2022)

Salted Swamp for a Sweet Slit, 2022
Oil on cut plywood
123 × 100 × 6 cm (48 ⅜ × 39 ⅜ × 2 ⅜ inches)

Exhibition view, Salted Swamp for a Sweet Slit, 2022

Commonwealth and Council x Galería Agustina Ferreyra, CDMX

Mi madre es un ventilador con cara de vaca, 2022
Oil on cut wood, hand-dyed wool, and silicone mascara wand.
Woman-Comb, 34 x 14 x 2.5 cm
Woman-Powder Brush, 31 x 13 x 2.5 cm
Woman-Mirror, 42 x 16 x 2.5 cm

Insoportablemente Bella, 2021
Oil and mica flakes on polypropylene paper, leather, polyester, silk and metallic threads, and black freshwater pearls. All hand stitched.
75 x 40 x 4 cm (29 1/2 x 15 3/4 x 1 1/2 inches)

Exhibition view, Venus Atómica, Galería Karen Huber, México (2021)

La llaga parpadea, 2021
Oil on Canvas
100 x 78 cm (39 3/8 x 30 5/8 inches)

No grites, que la niña duerme, 2021
Oil on cut wood
128 x 93 x 8 cm (50 3/8 x 36 5/8 x 3 1/8 inches)