Yu.ta 

The Pink Portrait series is about an exaggerated representation of the woman-child and the artist's personal experience. The artist wanted to represent the archetype of the child-woman. The child-woman: that too-young girl who is displayed like a piece of woman in magazines. A gift woman, a woman who has to be sexy and yet innocent. Half-naked, neither adult nor child, neither sure of what she is doing, neither uncertain, neither healthy nor alienated. The social diktats that fall on women and follow on from them seem to say: a woman is only a gift for the other. The woman is both queen of her shadow and prisoner of those who live in it.
A few allusions to madness are mixed with the alienation one can suffer from having to be one way and not another. Strong women, independent women are still under the yoke of an unfortunately popular social preconcept.
The self-portrait is a self-representation, it is dedicated to the in-depth analysis of the narcissistic mirror. Here the artist seeks answers about the equivocal and ambiguous role she might have as a woman. What does it mean to be a woman nowadays? What is a woman's identity if it is orchestrated by social diktats? Where is the line between providing self-confidence and exposing oneself to what society expects of us? What does self-presentation according to female codes bring?
By playing with feminine codes, the series nevertheless delivers a feminist message by questioning the place of women in society.
Nowadays, photography and new technologies are once again questioning the notion of self-portraiture. It is now accessible to all thanks to selfies and the self-image is altered by filters. We represent and stage ourselves on social networks. We can thus speak of the establishment of the "I" in the virtual space. To counterbalance this effect, the artist chooses to use film for his series of self-portraits. But as a tribute to our time, the digitisation of the images involves a great deal of retouching.