Superwomen
EN
Super Women began as a final MA project at the London College of Fashion and slowly evolved into a more open investigation into fiction as a way of looking at everyday life. What started as a collection of staged images expanded as I began to recognize a personal and psychological connection to the work, particularly to my observations of my mother’s life and the expectations placed on women within patriarchal structures.
The project unfolds through constructed scenes that remain close to reality without claiming to represent it directly. Some images openly reveal their artificial nature, emphasizing staging, performance, and the act of construction itself. Others adopt the appearance of documentary photographs, borrowing visual cues from domestic spaces and digitally mediated environments. Rather than resolving this tension, the work stays within it, reflecting how reality is often experienced through performance and projection.
At its core, Super Women considers fiction not as an escape from reality, but as something already embedded within it. The figure of the “super woman” appears as a role shaped by necessity rather than choice; a position formed through endurance, and adaptation. Each image stands on its own, yet together they suggest a shared psychological space where personal history, and imagined resilience quietly overlap.
ESP
Super Women comenzó como el proyecto final de maestría en el London College of Fashion y fue transformándose poco a poco en una investigación más abierta sobre la ficción como una forma de observar la vida cotidiana. Lo que empezó como una serie de escenas construidas fue revelando una conexión personal y psicológica más profunda, especialmente ligada a mi mirada sobre la vida de mi madre y a las expectativas que recaen sobre las mujeres dentro de estructuras patriarcales.
El proyecto se despliega a través de escenas cuidadosamente construidas que se mantienen cerca de lo real, sin intentar representarlo de manera directa. Algunas imágenes hacen visible su carácter artificial, subrayando la puesta en escena y el acto mismo de construir una imagen. Otras adoptan la apariencia de fotografías documentales, apoyándose en espacios domésticos y en referencias al mundo digital. En lugar de resolver esa tensión, el trabajo permanece en ella, reflejando cómo muchas veces la realidad se experimenta a través de la representación y la proyección.
En el centro de Super Women, la ficción no aparece como una vía de escape, sino como algo que ya está inscrito en la realidad. La figura de la “super mujer” surge como un rol impuesto por la necesidad más que por la elección, construido desde la resistencia y la adaptación constante. Cada imagen funciona de manera autónoma, pero en conjunto dibujan un espacio psicológico compartido donde la historia personal y una forma imaginada de fortaleza se superponen de manera silenciosa.
Works
SW
Slavoj Zizek (2002) -Welcome to the desert of the real- “In short, we should discern which part of reality is 'transfunctionalized' through fantasy, so that, although it is part of reality, it is perceived in a fictional mode. Mucho mas dificil que denunciar/desenmascarar (lo que parece) la realidad como una ficcion, es reconocer la parte de ficcion en la realidad <real>”
Many of the figures appear still, suspended in minimal actions or simply waiting. There are no heroic gestures or climactic moments. What draws you to this state of pause?
That distant gaze toward the horizon is closely tied to thought. These are moments when we drift away from the immediate present and enter an inner space shaped by memories and worries. I deliberately try to construct two worlds at once: the one contained within the photograph—which already carries a strong degree of fiction—and an invisible, imagined space. I’m interested in whether the viewer can enter the woman’s thoughts, her daily life, her concerns.
These non-heroic moments stand in direct contrast to the title Super Women. Having grown up in a deeply female environment, I feel a strong sense of gratitude for having been close to those conversations and memories.
The settings are ordinary spaces—bedrooms, supermarkets, parking lots—yet they feel carefully staged. What draws you to these locations?
I spent nearly eight months searching for spaces that felt both ordinary and exceptional. My architectural background trained me to observe the urban landscape in a very particular way and to develop a fascination with certain environments. I don’t think they can be clearly defined. It’s more instinctive, like an internal signal that activates when a space demands to be inhabited by an image.
The female figures often appear alone, even in public spaces. How does solitude function within the project?
Initially, working with a single figure was a way to condense a broader experience into one body. I was interested in portraying a form of solitude shaped by responsibility. That became the starting point for a deeper reflection on what it means to exist within an increasingly individualistic society and on the gradual disappearance of support structures.
The bodies rarely express emotion openly. They seem to hold something instead. How do you think about the body in these images?
For me, the body is a form of burden. That gaze reflects everything being carried internally. It represents what keeps you absent from your own present, even when you are physically there.
In several images the constructed nature of the scene is clearly visible. Why is it important for you not to hide that artificiality?
Each image followed a different photographic methodology. Some are fully fictional, others lean toward documentary, and some exist in between. I was deeply interested in the process of making images—how scenes are built and how collaboration unfolds. The boundary between documentary and fiction has always felt unstable to me. Simply pointing a camera and framing reality is already an act of editing that alters context and perception.
Some images leave the viewer uncertain about their status. Is that ambiguity intentional?
That uncertainty about what is real has become increasingly present in our collective mindset. Social media operates as a space of extreme fiction, where constructed identities dominate everyday experience. That concern was already embedded in the project.
The nocturnal scenes and spaces of consumption feel suspended. How do you read those moments?
For me these scenes are about brief moments of thought. They capture those instants when we pause and enter our concerns. That is where existential questions find room to surface.
Clothing appears carefully considered but never overpowering. What role does it play?
The wardrobe follows the same logic as the locations. It emerges from an impulse that feels ordinary but carries something singular. Color and texture were carefully considered to help shape the atmosphere of each image.
The title Super Women suggests strength, yet the images resist that expectation. How did this relationship emerge?
The connection between these images and my mother surfaced late in the process. Once it became clear, I understood that I was portraying her through these figures. They represent a generation of women who sought autonomy within patriarchal structures and bore the consequences of being among the first to do so.