By Rodrigo Alonso
For some serious themes , Kupferminc has chosen a playful vehicle, the “as if” scenario, which allows her to approach these texts “as if” she were not familiar with them, “as if” it were the first time that they have been uttered. On doing so, she restores their capacity for revelation, and she finds avenues towards new meanings that she later develops through a wide variety of plastic resources.
Committed to this task, for the first time she has made a couple of soft sculptures inspired by the myth of human creation, and its most controversial leading character: Eve, the primeval woman. Detached from disobedience, sin, and fault, here Eve appears as a mother, at the same time protective and oppressive, as a character with a weight of her own (no longer subsidiary to man) and taking on her role in God’s plan to give rise to the succession of times. Resorting to alternative readings, Kupferminc reviews the relationships among God, Adam, Eve, and the snake, which implies to revisit the complex relationships among life, knowledge, law, and pleasure.
One of the sculptures consists of a succession of female breasts that could enrobe an individual in the style of a dress. A summary of food and pleasure, the principle of life and joy, these breasts gain stature as an existential core, without leaving the body. Fleshy, cardinal, and erotic organs, they are equally agents for desire, need, and law. Kupferminc underscores this powerful authority when she decides that her art piece will be entitled Eve: Chair of all Mothers. Within the suggestive confluence of the multi-faced nature of breasts, the primal mother and the authority principle, the piece promotes the image of a powerful and fundamental Eve, and it rescues her from the victimizing readings to which she is often subject to.