Ximena Zomosa, 1966 Santiago Chile.
Bachelor of Fine Arts degree, major in printmaking, from Catholic University in 1991.
In 1992, she developed her first installation with embroided fabric into frames titled Imaginary Museum. Serial objects and embroidery, began to be a metaphor of the female condition and also, a new way to extend the concept of engraving. In 1994 in Scream In the Sky, at the Spanish Cultural Center (Santiago), she began her following body of work focused on dress-making. In 1996, she showed at Posada del Corregidor Gallery the work Cut, that incorporated her own hair. In the installation Every Place Becomes Home, she made two gigantic dresses combined with hair drawings. This work was included in the Sidney Biennal in 1998. After that she began her work, Project of a Boundary, with other three women artists. They worked together in Chile Proyecto de Borde Valdivia (1999), The United States Project of a Boundary (fold) and (unfold) (Boston and New York 2002) and Australia Portable Affairs (2005). With the poetic of her own body (copies of it, and her own hair) and a combination of strategies according to the site specific places, She has shown her work in South America, China (Bienal of Shangai 2004), Australia, and The United States.
Feminist Artist Statement
The frame as object, became to me a symbol of absence. The embroidery replaces an image for a word, just like hair replaces me: the rhetorical figure of metonymy. The body is replaced by the dress that covers it. Empty, it fills the space in all its gigantism, like the image of a woman, mother or ghost in certain dreams. My own presence moving in different places, travelling with the basic: every place becomes home, any place. I have drawn with hair, a humming sound representing time.
This resource comes from my autobiography.
Life as matrix: childhood, fears, third world cities, female gender, lenguage, artlife, everydaylife.
I translated it into site - specific works.