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    In Boy’s Ranch, Ana Segovia presents an installation composed of pieces in very different formats, dissecting her creative process and allowing us to penetrate—in a pedagogical sense—into the reflections that he seeks for himself, and the processes that he carries out for the purposes of creation. Painting has been the central part of Ana Segovia’s artistic practice, and through painting Ana has almost always reinterpreted preexisting archives. In a large part of her work, he has extracted audiovisual frames featuring male protagonists in order to generate another reading of what they represent.

    Segovia has developed an exhibition format in which her paintings form parts of installations, incorporating other elements, and thus constituting narratives that help to clarify her discourse. This is how he has built a career that stands out not only for the technical aspects of her work but also for the depth of her tender, fun, sour, and nostalgic parody of masculinity. This arises from the process that Ana has lived through since her mother showed her films from the Golden Age of Mexican Cinema. At a young age he developed an admiration for the characters played by Mauricio Garcés, Jorge Negrete, and Pedro Infante—wishing, as he grew up, to be a charro—a Mexican cowboy—just like them.

    This was one of the first revelations of her conflict with gender stereotypes, leading her to deepen her research into the devices through which what we now recognize as hegemonic masculinity is imposed.

    -Andrés Treviño
    (translated by Byron Davies)

    Segovia earned her BFA from the School of the Art Institute of Chicago (SAIC). She has had individual exhibitions in the United States and Mexico, and her works are part of institutions including The Pérez Art Museum Miami (PAMM) and Alumnos 47 in Mexico City. Ana Segovia currently lives and works in Mexico City.

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