The documentary work of the Mexican photographer Maya Goded is maximized and redimentioned with this photographic serie, that turns out to be an interdisciplinary luck. Lipstick gathers visual elements to transport us to the sordid environment of the red zone of Reynosa. An unsuspected trip to a kind of an old west cinematographic set, but on this side of the north border, where decomposition and violence are far from being fiction and real stories of misery and prostitution get visible.
Maya Goded has portraited women living in social marginality in various ocations. Her vision about this femenin world is nor predatory nor vertical, but part of a reciprocal perspective where the acknowlegemet is mutual. The involvement, farther than representation, is evident and alows to see a tension that translates into latent risk. At the national context, where impunity on harmful situations like explotation, and systematic women and activists murders is atrocious. Documentary practices like Goded’s are not only valid, but absolutely necessary. In Lipstick, the use of alternate supports and the incorporation of new technologies, media and strategies, turns Maya Goded’s work in one of the most important alternative referents of Mexican contemporary photography (Benjamin Alcantara).
She works her photographic images and video from intimicy, she explores people living in difficult situations around the notion of power and control. She gets so close, tah her rejection to leave threatens the stableshed rules, as the voulnerable one, whose life is twisted by social prescription. Some of her awards and scolarships are Prince Claus Fund, Holand, 2010; Eugene Smith, Memorial Fund, Inc. USA, 2000; Guggenheim Foundation, USA, 2001. She belongs to the National Sistem of Art creators.