Tránsito (Transit) is a work that transforms itself. It is about the liberation of oppressed women.

The starting point is the relief of a woman’s face which, when finished, was covered with tissue paper and wires (Tangier, Morocco, 2012). The woman was thus trapped for years. In this form it was exhibited twice (“Instintos Distintos”, GlogauAir, Berlin, 2016 and at the festival “J.A.C.A”, Madrid, 2017).
In the last exhibition, the artwork was acquired by a client, this purchase opened the way to the liberation of the face of the enclosed woman.

In the process of opening and liberation, a stop-motion video was made in which we see how the oppressive wires break and open, as well as the paper, leaving the face for the first time in view.

The released work was once exhibited in Berlin (“48 Stunden Neukölln”, 2017) and then handed over to its owner.

Since then, the video Transit and a series of prints of the 3 stages of transformation: locked face, face in the process of liberation and free face have been exhibited on several occasions.



This narrative has two conceptual possibilities. Perceived positively, the transformation that can happen to an artwork when it is bought for its liberation means that the piece is alive. Whoever acquires it is a participant in its metamorphosis and produces a liberating action that generates a story.
Nevertheless, we can see it as an action that objectifies. Because “buying a woman” is a terrifying act.
The buyer is given the status of owner, and as owner he has power over what is bought, so that she will remain a captive. A submissive, a dominated, a victim.
And for the spectator to maintain that dichotomy, Candela Pan has shown the true face of that woman who expresses, with her large and infinite eyes, the prevention and astonishment when, at last, she appears in the light, after the chains have been broken, which, although broken, will always be present.

Carmen Mejías

Journalist, Spanish Ministry of Culture

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