While living in New York during the 1960s, Sánchez began making shaped paintings that explore the female form, which came to be called Erotic Topologies. This painting’s title references the female character in Greek tragedy who is forced to choose between family and state and ultimately sacrificed. The contrast between the work’s smooth, skin-like surface (made possible by the plastic qualities of acrylic paint, a relatively new invention at the time) and its jutting, wooden armature can be seen as echoing the tension between how the body appears and how it feels to inhabit it.
Gallery label from 2021
