The “OTHER IDENTITY – Other forms of cultural and public identity” series, conceived by independent artist and curator Francesco Arena, aims to assess the evolving visual language of our time. It showcases the work of creators and artists who utilize photography, video, and performance to explore themes of identity and self-representation. In this edition, we interview Ana Priscila Rodriguez.
Interview with Ana Priscila Rodriguez
In an era where our private lives often become public, and our self-representation constantly shifts and is dramatized through our actions, how do you define art?
«My art is a mirror reflecting myself, my surroundings, and my place within them. My artistic representation stems purely from my personal life experiences and engages directly with the viewer. While my work is deeply personal, I strive to forge a connection between my narrative and the viewer’s own, enabling them to construct their unique perspective through my art.»
We often construct specific identities, highlighting certain traits to leave our mark. What is your “identity” within contemporary art?
«As an artist, my identity is that of a storyteller, blending dark and romantic aesthetics. I act as a mirror, offering a different view of ‘the other’ through my work. This is why I don’t consider my photographs ‘self-portraits’; ultimately, they aren’t about me, even though they originate from my experiences as the primary source of the story.»
How significant is social and public appearance to you?
«It’s important to an extent, but not essential. When building a following, I always prioritize quality over quantity. I want my image to be accurate rather than just perceived as ‘good.’ Authenticity is something I value in others and strive to embody myself; uniqueness is far more appealing than mere popularity.»
In a constant quest for new self-identification and representational value, concepts like appropriation, plagiarism, re-edition, and readymades of identity iconography—past, present, and contemporary—are perpetually debated. What is your representational value today?
«I’m unsure if originality equates to greater value by today’s standards, especially in art and aesthetics. Dealing with challenging technologies like artificial intelligence has somewhat blurred the lines for artists, and the demand for truly unique representation is sadly diminishing. We all want to believe we’re bringing something new to the world, yet we constantly influence each other.
The value of my representation has always been my life itself; it gives me a unique ‘Soul’ as an artist and is my purest source of inspiration for my stories. No matter how much someone tries to imitate my works (and I’ve had such instances), they can never possess my life experience; the ‘Soul’ of the story won’t be there. They might mimic the aesthetics, but the content and idea remain uniquely mine.
Furthermore, in more practical terms, my goal is to continue developing the ‘red element’ in each of my works—identified as a specific line, dot, or colored section. This element has already given me a distinctive ‘signature’ that enhances the value of my representation.»
Our public actions, including creating art, often spill over into our daily lives, intimate moments, and feelings, or rather, the reproduction of who we are and how we try to appear to the world. Do you define yourself as an artist in the eyes of the world?
«Yes, absolutely. People have always perceived me as a bit different and strange, but I can’t help but reproduce my aesthetic world in how I dress, decorate my space, and often, how I value my life experiences and choose to transform them into art. Moreover, I don’t believe people can define themselves as ‘artists’ based solely on their public behavior or appearance; it’s a much deeper matter.
An artist has the ability to transform their environment, whether through an idea or by reshaping materials. This act of transformation is, in my opinion, the ultimate definition of Art, and it often happens out of necessity, not always by choice. I knew I wanted to be an artist from a very young age, and ever since, I’ve transformed things around me and even transformed myself to align with that inner world that emerges through my lens every day.»
What “cultural and public identity” would you have liked to embody, other than your own?
«It took me many years to come to terms with the person I am in this world. I’ve been challenged by serious health issues and consequently live with chronic pain every day. Sometimes, I wish I were a strong, fit, and healthy woman just because things would be so much easier for me. However, I forget that part of the darkness from which my stories emerge also stems from that pain and those limitations that obscure my abilities. So, despite the many fantasies I might entertain about being someone else who would offer certain advantages, I am finally content to be myself, just as I am, today.»
Biography
Ana Priscila Rodriguez, born in Mexico City in 1974, has resided in the Netherlands since 1989. She initially studied History and Graphic Design before graduating from the Utrecht School of the Arts (HKU) in 2006, specializing in Photography and Mixed Media. Her work has been exhibited extensively across Europe and the United States. Over the years, she has garnered numerous international accolades, including the Public Choice Award at the BBA Gallery Prize in Berlin (2023), a nomination for the Jacob Hartog Prize at Pulchri Studio (a prestigious Dutch art association), and the 2023 Conceptual Photography category win at the International Fine Art Photography Awards (FAPA). She is also a member of the Beautiful Bizarre Magazine Directory and the Pulchri Studio Association.
Rodriguez currently explores various printing techniques. Her art delves into the human experience, crafting a relatable space for human emotions. Through layered textures, her photography evokes the illusion of old paintings, characterized by a classic, dark Baroque aesthetic interwoven with romantic narratives. The artist’s objective is to connect with viewers through her stories, offering a space for their own interpretations and narratives.
