Alejandra Phelts

Mexicali, 1978

Alejandra Phelts has a degree in fine arts from the Universidad Autónoma de Baja California, Tijuana campus. She won first place in the XVIII Bienal Plástica de Baja California in the painting category (2012) and the acquisition award in the Premio Nacional L.A. CETTO Arte Contemporáneo (2004). She has been a beneficiary of the Stimulus Program for the Creation and Artistic Development of Baja California (2008 and 2004). She has been part of multiple selections in biennials, group exhibitions and art fairs. He has been part of multiple selections in biennials and group exhibitions. Her most recent solo exhibition is entitled Mujeres transfronterizas at the Museum of Latin American Art (Long Beach, 2024). She was also part of the group exhibition titled Tierras Únicas at the Centro Estatal de las Artes (Rosarito, 2024). Her most recent publication Alejandra Phelts was edited by the Secretary of Culture of Baja California (Fondo Editorial La Rumorosa, 2021). Her work is developed mainly in the disciplines of painting, photography and installation. She lives and works from the city of Tijuana, Mexico.

statement

My creative action is based on my interest in recording the desires and daily experiences of women living in Tijuana, a border city with the United States that is characterized by its contradictions: it is considered the busiest Mexican border, the city has been ranked as one of the most violent cities in the world, and living in Tijuana means living with San Diego, a city that has been considered the best in the United States.

Far from any kind of victimization, my proposal registers daily experiences that link intimacy, affective relationships and attitudes of feminine empowerment. The pictorial practice has been essential in the development of my artistic work because, through images that are perceived as real, I can represent and present desires, utopias and one or another reality.

Relational art is another territory that I find fascinating. In the face of so many stereotypes that have been spread about border life, what does it mean to be and live as a woman in Tijuana? To answer this question, I turn to multidisciplinary practices including installation, object art, photography, performance and conviviality with women living in different Tijuana contexts.

An aesthetic circumstance that provokes great curiosity in me is the relationship between beauty and contemporary art. Faced with the aggressiveness of the visual stereotypes that define border life, is it possible to create an artistic proposal that confronts the aesthetically correct aggressiveness of border cultural stereotypes? Aware of the challenge of confronting the seriousness of post-conceptual aesthetics, my artistic proposal dares.

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