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<p><em>Ana Segovia abre a Harper's Bazaar las puertas de su estudio, ubicado en la Ciudad de M&eacute;xico.</em></p>
<p>Su mirada es tanto serena como apasionada. Antes de comenzar nuestra charla, Ana Segovia se da unos momentos para reflexionar sobre lo que quiere decir. Mientras medita, yo no puedo m&aacute;s que sentir un profundo agradecimiento por estar dentro de su estudio, ese espacio en donde el artista plasma sus ideas y su coraz&oacute;n sobre el lienzo. Descubro pinturas de charros montados a caballo, hombres ataviados con sombreros y atuendos que me remiten a las comedias rancheras de la &eacute;poca dorada del cine mexicano. Pero hay algo que inevitablemente me llama la atenci&oacute;n: el color. &ldquo;A la hora de pintar, siempre parto de establecer una paleta de color. Muchas de las im&aacute;genes que trabajo vienen del&nbsp;blanco y el negro. Esto se presta a no interpretar el color, sino a inventarlo. Es muy importante esto en mi trabajo porque a los colores hist&oacute;ricamente se les ha asignado una identidad de g&eacute;nero, desde los a&ntilde;os 50 para ac&aacute;&rdquo;, afirma Ana, quien despu&eacute;s de su reflexi&oacute;n inicial se encuentra listo para adentrarnos hacia su mundo. &ldquo;Lo que hago es buscar alg&uacute;n momento dentro del filmograma que representa un momento de la pel&iacute;cula para representar esa idea de masculinidad de manera sat&iacute;rica e igualmente busco un color llamativo que invite al espectador a cuestionarse &lsquo;&iquest;Qu&eacute; es este cuerpo masculino que estoy viendo?&rsquo;&rdquo;. Irremediablemente pienso en la pintura del charro montado a caballo con su pantal&oacute;n con colorido estampado floral. &ldquo;Esto es algo que no existe en el l&eacute;xico de la comedia ranchera. Las leyes de la charrer&iacute;a tienen reglas de g&eacute;nero expl&iacute;citas. Entonces, a m&iacute; me interesa jugar con esos c&oacute;digos de masculinidad&rdquo;, asegura.</p>
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<p>Resulta inevitable hablar con Ana sobre su propia identidad de g&eacute;nero. &ldquo;Mi experiencia en esta vida ha sido mayoritariamente como un cuerpo femenino, como mujer, hasta que por ah&iacute; del a&ntilde;o 2015 decid&iacute; indagar c&oacute;mo ser&iacute;a mi experiencia del mundo sin una clara definici&oacute;n. Poco a poco me fui reconciliando con la noci&oacute;n de estar bien en la &lsquo;no definici&oacute;n&rsquo;. En un estado liminal flexible, que no significa que un d&iacute;a decido ser mujer y al otro d&iacute;a hombre, sino que me encuentro en un espacio en medio que no deseo categorizar como no binario o est&aacute;tico&rdquo;, afirma. Desde hace varios a&ntilde;os, Ana empez&oacute; a trabajar con el tema de identidad de g&eacute;nero en su obra. &ldquo;Particularmente me interesa mostrar una mirada cr&iacute;tica hacia c&oacute;mo hemos construido como sociedad masculinidades t&oacute;xicas, representadas en el cine, la repercusi&oacute;n que la violencia de inter g&eacute;nero, hombre a hombre &ndash;ese machismo que se emplean entre ellos&ndash; afecta a todes. Y como v&iacute;ctima, desafortunadamente, la mujer: cis, trans, cuerpas femeninas. Mucho de mi enfoque tiene que ver con desmantelar estos mitos de identidad, lo que significa ser hombre y, por ende, lo que significa ser mujer dentro de un sistema binario&rdquo;.</p>
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<p>Ana estudi&oacute; en la School of the Art Institute of Chicago, obteniendo su BFA en pintura y dibujo. Ha expuesto su obra en M&eacute;xico, Estados Unidos e Italia. &iquest;En qu&eacute; momento supo que se quer&iacute;a dedicar al arte? &ldquo;Cuando era chiquito, estaba en el taller de mi abuela y me acuerdo de que quise hacer un dibujo con la intenci&oacute;n de hacer arte. Ciertamente para m&iacute; ya no se trataba de un juego, sino realmente ten&iacute;a la&nbsp;pretensi&oacute;n de que lo que estaba haciendo era una obra de arte&rdquo;, revela. &ldquo;Ahora me da mucha risa y ternura, pero en ese momento era un esfuerzo enorme&rdquo;.</p>
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<p>Ana vuelve a darse un momento para reordenar sus ideas, vuelve a ese estado de reflexi&oacute;n profunda, sale al jard&iacute;n, fuma un cigarro y yo espero pacientemente a que medite lo que me quiera seguir compartiendo. Vuelvo a caminar alrededor de su taller, a ver con detenimiento esos colores vibrantes plasmados en los cuerpos masculinos de los que me habl&oacute;. Veo con mayor detenimiento ese estmpado floral en el traje del charro, que ella ha enfatizado en que &ldquo;se draguea&rdquo;.</p>
<p><img style="width: 100%;" src="https://cdn.magzter.com/1410285613/1697474080/articles/Jd8PLJySb1698823411416/6686196896.jpg"></p>
<p>Y es verdad. El charro se ha dragueado y no puedo m&aacute;s que sentir una verdadera frescura ante tal acontecimiento. Finalmente, Ana vuelve a estar lista para seguir hablando. Le pregunto acerca de las mujeres en el arte &ndash;al fin al cabo este proyecto de <em>Harper&rsquo;s Bazaar</em> se titula &lsquo;Women in Art&rsquo;&ndash;, y su respuesta me emociona. &ldquo;Hemos avanzado, pero tambi&eacute;n es importante ampliar la inclusi&oacute;n de la definici&oacute;n de mujer. Incluir mujeres trans, por ejemplo. Sin duda el canon de la historia del arte ha exluido por mucho tiempo voces que no son heteropatriarcales.</p>
<p><img style="width: 100%;" src="https://cdn.magzter.com/1410285613/1697474080/articles/Jd8PLJySb1698823411416/9196969839.jpg"></p>
<p>Y estamos en un momento donde se est&aacute; haciendo la labor de revisar qui&eacute;n se qued&oacute; fuera de las conversaciones que se tuvieron tanto hist&oacute;ricamente como las que estamos teniendo ahora. Todav&iacute;a hay mucho que trabajar, pero me entusiasma la energ&iacute;a y el impulso que como comunidad estamos haciendo para remediarlo&rdquo;. Vuelvo a mirar su mirada serena y apasionada. Le pregunto: &iquest;C&oacute;mo quieres que se te recuerde? &ldquo;Por haber sido una artista que siempre le fue fiel a sus impulsos creativos y sus curiosidades&rdquo;. Y yo no tengo dudas: as&iacute; ser&aacute;.&nbsp;</p>
<p><em>Ana afirma que el arte es importante para la sociedad porque genera espacios donde nos podemos juntar y generar di&aacute;logos ricos, que le den significado a nuestras vidas.&nbsp;"Un mundo sin arte ser&iacute;a un mundo m&aacute;s triste, con menos significado, desolado, vac&iacute;o", asegura.</em></p>
<p><em>Ana pinta al &oacute;leo casi exclusivamente, con muy pocas excepciones. Le gusta mezclar directamente en el lienzo aunque tambi&eacute;n ha explorado distintas t&eacute;cnicas, como la veladura, la cual es un trabajo m&aacute;s lento, que requiere pausas, construyendo imagen y color a trav&eacute;s de capas.</em></p>
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Ana Segovia

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Harper's Bazaar en Español

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