ARTIST BIO
Fernanda Fuenzalida Bavestrello is an artist originally from Curicó. A Fine Arts graduate from the University of Chile, her artistic practice inhabits a feminine and rural imaginary. She explores these themes through the lens of unpaid labor, affect, and bodily experiences, seeking to challenge and tension the boundaries between the public and the private spheres. Through observation, research, and collaborations with other women, she provides a critical and exhibition space for these realities, employing diverse mediums such as installation, ceramics, and painting.
SELECTED WORKS
Domestic Dialogues II
Year 2024
Museo de artes visuales MAVI UC, 2025. Santiago, Chile
Domestic Dialogues II is the second installment of the Domestic Dialogues series. The work consists of five intervened tin bread toasters—a ubiquitous daily utensil in Chilean kitchens. Three of these objects bear the phrase “Está listo” (It’s ready), while the remaining two display “Come y calla” (Eat and be quiet).
Continuing the conceptual framework established in the first part of the series, the pieces are wall-mounted at the precise height where toasters are typically kept within a domestic setting, reinforcing the tension between the object’s function and its symbolic weight.
Domestic Dialogues I
Year 2024
Museo de Arte Contemporáneo MAC, 2025. Santiago, Chile
As the first installment of the series, Domestic Dialogues I uses the kitchen and bread-making to explore systemic violence and gendered segregation. Utilizing a traditional Chilean tin toaster as a printmaking tool, the engravings are arranged on a surface evoking a kneading board to emphasize the weight of manual domestic labor.
The central phrase, “Se te va a enfriar” (It’s going to get cold), transforms a common household insistence into a veiled threat, exposing the invisible servitude and mental load inherent in the domestic sphere.
Letters to those who saw me naked
2022
Museo de Artes Visuales MAVI UC, 2023. Santiago, Chile.
Letters to those who saw me naked is born from a direct bodily action: using the artist’s own anatomy as a ceramic matrix. Each piece functions as a symbolic missive: the first, a cast of the lower abdomen, is addressed to caregivers; the second, a cast of the left breast, to lovers; and the third, a cast of the right hand, to the artist herself.
Untitled
