In 1936, before consolidating her style that immortalized her in the world of visual arts, Amelia Peláez made this drawing. Pencil on paper, command of the line. Certain influences are evident, but what first fascinates is the delicacy of the line.

The theme of seamstresses is common in Cuban plastic arts. More than one artist left his testimony of women bent over the sewing machine.

Amelia Peláez's vision is not belligerent, it doesn’t seem (at first sight) a vindication. The projection of the character is calm. And at the same time, is powerful.

See the volume of her arms, the size of her bare feet. This woman could hold a world. And yet, she is circumscribed to a rather intimate sphere. The boundaries to which women used to be tied on.

But there were always pioneers. Women who pushed limits, crossed borders. Amelia among them.

This drawing could be the metaphor of a potential. It’s more than a delight in the smoothness of the curve, it’s the reaffirmation of a will. The woman is not only the source and the flower. She is also trunk and fruit.

Translated by Amilkal Labañino / CubaSí Translation Staff