Marisol Mendez, winner of this year's Saltzman-Leibovitz prize, describes her best photograph as a dreamlike image of a woman holding a bull costume, part of her series Madre. The photograph, taken in 2019 in Cochabamba, Bolivia, features theatre actor Marta Salinas standing naked in a field, holding the head of a bull costume used in the Bolivian dance waka tokori. Mendez explains that the bull and bullfighter are symbols of masculinity, and she wanted to depict a woman comfortable with her masculine energy.
Mendez's series explores the depiction of womanhood in Bolivia, where media often present women in traditionally feminine ways. She notes that women displaying masculine traits are often labelled as lesbians, lacking nuance. The artist recalls her own experience of dressing in men's clothes at age 14, which she says was about insecurity rather than gender identity. Her therapist described her as having masculine traits like ambition and competitiveness, which she welcomes.
The image also reflects Mendez's approach to nudity, which she says is often sexualised in Bolivia. Inspired by US photographer Ryan McGinley, she aims to show nudity as non-sexual and comfortable. 'Being naked is being oneself,' she says. 'It doesn't necessarily have to be sexual.'
Mendez's mother played a key role in the project, acting as chauffeur and collaborator. It was her mother's idea to shoot in the field, remembering a friend's fruit farm. Mendez describes Marta Salinas as an incredible performer whose body suits the power of the image. Before photographing subjects, Mendez asks whether they feel more like Mary Magdalene or the Virgin Mary; Salinas chose Mary Magdalene.
Mendez, now based in Paris, says winning the Saltzman-Leibovitz prize was especially meaningful because she respects the nominators and jury. Her work is on display at Photo London, Olympia, until 17 May.
