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The exhibition Ni sumisa ni devota is the response with which María Eugenia Trujillo (Colombia,

1953) attacks the historical submission of women to men. Since Eve took her first bite into the

apple, Catholic tradition has made women the embodiment of lust, temptation, and sin. Trujillo’s

works stand as plastic metaphors at the service of poetics with a social, historical and religious

theme, which doesn’t only delve into the feelings of guilt that weigh on women, but also claims

liberation and sexual pleasure. In María Eugenia Trujillo’s work, the form is also a declaration of

principles: the needle becomes the artist’s brush to honor the feminine activities crossed out as

“minor arts”. From the renewing gaze of a woman who represents a woman, Trujillo embroiders

parts of the female body that she incorporates to apparently religious objects to redefine them and turn them into works of art destined to contemplation and thought.