“Maria Man Ging emerges to structure a nocturnal world, a very personal environment in which she evokes a silence in blues and grays, and the stripping of prejudices announced in ‘Alimaña’. In her search she turns to nature and cement where we find cats, foxes, opossums, and more. María resorts to painting, engraving, and sculpture as a representational resource; she shows dexterity in the art of drawing and acrylic painting in blue tones that induce darkness: a world that awakens and survives according to its rules.”
V. Adrián Ramírez Lavid
January 2017 – Ecuador
The “Alimaña” series is a construction where artist and animal are identified in a game of glances, trying to escape from an anthropocentric diurnal world. It is also a philosophical reflection on the world as will and representation.
According to Schopenhauer, in the world of representations, everything is a known object or cognizing subject; while in the world of will, only desire, selfishness, and suffering are imposed. For those who impose their will, the others exist only in their representation. This explains why some individuals consider themselves to be the center of the world and care only for their own preservation and well-being, and why, from the natural point of view, they are ready to sacrifice everything else, being capable of destroying the whole world. When human beings live devoted soleley to objects that are directly related to their will, what they want or intend is to dominate everything for themselves, even if to achieve this they have to overwhelm anything that opposes resistance.
“Alimaña”, a word in Spanish derived from the Latin animalia, plural of anĭmal, means animal, irrational animal, harmful animal to livestock or bad, despicable, low-feeling person. It is a generic and confusing designation that reifies beings and serves to name animals that are considered predatory or with unpredictable habits. This concept, being a prejudice, is linked to the human will.