Garza’s other inspirations include the art of Eva Hesse and the writings of Sylvia Plath and Charlotte Perkins Gilman. That really inspired me to just paint who I am in deeper ways.” “There is a kind of visceral tone to her work,” Garza explains, “and when I first started painting I was mostly interested in technique, such as Caravaggio or Courbet, but Frida had this almost tangible emotion coming out of her paintings. Among the women that have influenced her art and identity formation, Garza includes Frida Kahlo, the queen of self-portraiture herself. Garza draws a great deal of artistic inspiration from a number of different female artists, writers, and thinkers. Many of her girls wear cultural markers that many Latinas, black American women, and other women of color have long worn as bodily adornments such as delicate gold chains and bracelets or long colorful nails resting on the tips of their fingers.Īlthough Garza’s own ethnic and cultural identities are evident in her work, her subjects are somewhat racially ambiguous, allowing room for women of many different ethnic and racial locations to see themselves and their bodies validated in her paintings. Garza frequently pairs Spanish words and their Korean translations side by side in her work, highlighting the duality of her own identity. It is not uncommon for Garza to paint an image of a nude woman lounging on her bed with La Virgen de Guadalupe hanging above her, or an image of two topless chestnut-colored women on the kitchen floor making kimchi. It’s not hard to pick up on the Korean and Mexican cultural identifiers that Garza incorporates into her work.
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