Is there something more perfect and inspiring in art than the body itself? A voluptuous bust is more than a part of the female figure, it is a symbol of fertility, of femininity, and this is what Milena Montealegre McMichen, artist and coach with international certification, which seeks through its visual work the empowerment of women. Her experience as a therapist and teacher of Fine Arts at the Jorge Tadeo Lozano University in Bogotá (Colombia), breaks the paradigms of society in magical sculptures that reflect the woman and her interior.
Motivating a reality, based on her own experiences, gives her audience the expectation of a new form of art, which, in addition to being therapeutic, is another form of expression, especially for women affected by breast cancer. Her pictures inspired by experiences detail, and recognize the acceptance of a woman who has been able to confront her conflicts and emotional problems.
The plastic, the blown glass, the wood and the plaster are transformed into asymmetrical figures embodied in mannequins with bricolage, where the sequins and canutillos are highlighted with lace of fuchsia, black or pink colors. The unmistakable seal of the artist seeks to generate a prevention awareness about the increase of breast cancer, also urges women to challenge themselves, to know themselves, to heal emotionally.
Her exhibition is aimed at empowered women who transcend, and visualize their own self, their body, focus on the work of art that exists in each female and it is there where this playful, artistic and therapeutic initiative starts as a process of helping affected women for cancer, which after exploring as an artist found that healing emotional deficiencies, could improve the mood and health of affected women, not only by cancer, but by violence. According to her analysis, cancer in the right breast is normally acquired by problems of stress, by tension, where the neurotransmitters of the brain send that message, affecting the mammary glands; on the other hand, in the left the symptomatology is different, since the negative experiences with relatives have repercussions on health. She believes that sometimes it is necessary to cry, to shout, but above all to learn to laugh.
The phallic figures are not alien to the artist's design, the human body is the most perfect work, and the taboo that still exists when showing the sexual organs affects the sensibility of the world, but despite this, Milena has found that men and women victims of abuse, have another perception, and somehow think that, for them, facing those images can be considered as a catharsis to the conflict they internally face.