The photographer has developed a colorful and pop aesthetic that is the hallmark of her work. On Wednesday, he will participate in a dialogue at the Museo Violeta Parra.

He is preparing a new project, different from what he's been doing throughout his career. This time, there will be no bright colors, no bright backgrounds. Nor staged with winks to popular Latin American culture. In Becoming Zaida González (41) will work on chiaroscuro and take pictures that "have to do with how you stop in front of another, how they treat you," she says.

The photographer is the sixth guest of Águila's Pupila Conversation cycle at the Violeta Parra Museum, for which Jorge Brantmayer, Kena Lorenzini, Luis Navarro and others have already pbaded. The activity will take place on Wednesday at 16:00. González will speak about his work, which is distinguished by its particular imagination that addresses issues such as marginality and dissent.

Zaida González grew up in a family where crafts and music were common. His brothers learned to sew and make their own puppets and dolls. The first approach to photography was his brother Marco, who studied audiovisual communication. "I always saw it with a camera and I was very interested in taking pictures, I found it very beautiful," he recalls.

He studied photography at the School of Image and Communication Alps, then a veterinarian at the University of the Americas, but eventually decided to focus on the first one. In each of his series, he works badog photography and then paints them in watercolor pencil.

Half-naked bodies, suggestive poses, religious references, animals and masks are part of the photographs of Zaida González, winner of the Rodrigo Rojas de Negri Prize in 2012.

However, his work does not include the following: has sometimes not been well received and has been criticized. "I have been censored many times.It is something universal, not just Chile or Latin America.In a Parisian show, even if they did not take it no photo of me, they put a curtain on top, so that whoever wanted to see it had to open the curtains, it could not be exposed so that everyone could see it.These were photos erotic religious, "he says.

– Where does the Latin American influence come from in his photographs?

– If you are traveling to Chile and go north, the cemeteries are decorated with colorful plastic flowers and churches. In the south, there are animitas and the colors change too. I think that in Latin America we are hard-pressed to have our spaces as altars. The same thing happens in Bolivia or Peru. I like a lot the colors and the way the spaces are decorated with what you have or your own resources. I like that.

– How is your personal story reflected in your work? [1945] 19659003] -In general, I write a lot about what is happening and I look a lot. All my work is about self portraiture, although I do not always appear. At first I left, I portrayed sick, I think more than anything because I could manage. Also, when you start, not many people want to pose because they do not trust. Now, I hardly go out anymore on the pictures. As if I had lost a little knowledge with my body, when I was younger, I knew myself well, the expressions and everything. Now I do not know what I look like

– How do you view the current state of photography in Chile? This photograph is more famous than it was some time ago. Before, he was more elitist to be a photographer, because he had to spend money for the cinema, etc. Today, I have the impression that many young people do photography and, most importantly, they work intensely and emotionally. I think that's the important thing. Of course, Chile has yet to detach itself a bit from foreign influences.