A week after the Supreme Court overturned Roe v. Wade, Jasmine Zelaya’s “Sad Girls” at Art League Houston struck a timely chord with me, writes arts critic Molly Glentzer.
Jasmine Zelaya with her painting “Three White Flowers Two Heads,” one of the works on view at Art League Houston in her solo show “Sad Girls.”Zelaya is showing bold new works that respond to the fears and anxieties of the COVID-19 pandemic and other sociopolitical crises of the past two years. For me, those pieces have another layer of meaningful urgency.
Although she has tinkered with more realistic styles of drawing and painting, the flat perspective and stylized graphics of her public works has become her calling card. The six large canvases of “Sad Girls” have that look-at-me drama. Like other signature Zelaya works, they’re close-up portraits of brown-skinned women whose faces are concealed by floral “masks” — a motif that expresses the tension between emotions and outward appearances.
The show’s title refers to the “sad girls” of chola culture who sometimes have tears tattooed on their cheeks. Chola-style combines black, wavy hair; winged eyeliner; and dark lipstick, suggesting that the wearer is both intimidating and vulnerable. “I have very specific ideas about beauty and how we manipulate our appearances,” Zelaya told me. “I’m intrigued by this idea that women do not have to be soft; they can be self-directed, with control over their identity.
The pop-art style of her imagery harkens to the 1970s, when her parents immigrated to the U.S. Her floral patterns symbolize the women in her family, all of whom are named for various flowers.
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