«In my work there is a continuity. I could also call it a set of variations on the same theme. Small chapters that always point to the same thing. They are closed, marginal spaces, spaces of minorities. One learns to travel through worlds that are closer than we think. It is as if one had always known the way. As a woman I am subordinated to a certain space that is natural for me to explore: the marginal. A need to untie knots.

Texts about the series 

«In this series, Errázuriz investigates the role of sex workers, showing their cosmetic transformation and the prosthetic construction of these corner-loving bodies. With her camera, the artist intervenes in the bedrooms in which they produce a sophisticated iconographic revision of the sexed body. Because La manzana de Adán (“Adam’s Apple”) does not hide the historical paraphernalia necessary to feminize a body, to install a sign that now occupies an epidermal surface to which it has not been assigned. From its very title, La manzana de Adán refers to the use of the velvet ribbon, that prosthesis that hides the protuberance capable of revealing the transvestism of a body.»

Javier Guerrero 

«The photographs in El infarto del alma (The soul’s infarct) are not strictly speaking images of madness, for madness is not something that can be put though a developing tank and come out as a picture, and if it were, then madness would no longer be there. Because of this, because madness is ungraspable, we never cease to ask ourselves about it. And that is what Paz Errázuriz does with her photographs: offer them as space that welcomes the arrival of a strange body, not to drop a taxonomic sanction on it but to explore that which passes between one body and another, including her own body, and including our own bodies. What is this strange body here? No longer madness but love. Thirty-five of the thirty-eight photographs that make up this book show couples that met in confinement.

Paz López