Paula Rego is one of the most influential figurative artists of the 20th century. Her work has been praised for its deep and unflinching exploration of issues of gender, rebellion and power. His ability to draw taboos and disturbing realities is impressive.

The clues of many of Rego’s works can be found in his personal and social life. He was born in Lisbon, the capital of Portugal, in 1935, three years after Antonio de Oliveira Salazar came to power. During his 48-year rule, Salazar suppressed political and social freedoms, increased poverty and class divide, blocked the way for women to achieve equality, and resorted to bloody violence to preserve Portuguese colonies in Africa.

The anti-fascist stances of Paula’s parents influenced her and instilled in her a sensitivity to injustice and violence, especially against women. The Salazar government’s resort to systematic torture and detention without trial created an anxiety and anger in Paula that later became the inner energy of her works.

From his first works, he presented himself as a bold critic of social injustice. At the age of 15, he created the painting “Interrogation”, which shows his attitude towards torture. In 1960, while still living in Portugal, he painted “Salazar Vomiting Homeland”. Is he not afraid of punishment? He himself answers: “No, I was not afraid. I don’t know why, but I wasn’t afraid.” At the same time, he also rejects his own uniqueness: “Creating any image requires courage. All artists are brave.”

There are not many artists like Rego who have continuously drawn women in an internal, passionate and complex way for several decades. He is also known for using stories and legends as a source of inspiration for his works.

Painting for a change

In June 1998, a referendum was held to end illegal abortion. But this referendum failed due to the very small participation of the people. Infuriated by the way the referendum was conducted and its lack of reception, Paula Rego began work on a series of ten untitled pastels, now known as the Abortion Series. In these works, we see women squatting with open legs among household objects, which draw our attention to the lack of medical equipment. The works that Rego created over the course of six months provide a brutal but honest portrayal of street abortions.

Paula Rego also talked about her abortion experience. She showed how the laws disproportionately affect poorer women in Portugal: “If you’re rich, it’s easier to find a safe way to get an abortion. “Usually by traveling to another country… but poor women become butchers.”

The series “Abortion” had a significant impact and was published in various Portuguese newspapers. This collection influenced public opinion. In 2002, after a nationally controversial legal abortion trial, Paula Rego issued a public statement explaining what prompted her to explore the issue through her work: “This series was born out of my anger. . . .” It is unbelievable that women who have abortions are considered criminals. This reminds me of the past… the suffering that abortion causes any woman is too much. “I cannot bear any blame in this matter.”

The “abortion” complex was so powerful that it became one of the factors influencing the outcome of the second referendum on the right to abortion in 2007, which led to the legalization of abortion in Portugal.

“Paula takes you to uncomfortable places, what Jung called the shadow,” says Elena Kripa, curator of the Paula Rego exhibition at London’s Tate Museum. These are taboo zones, where love and cruelty touch each other and our impulses and fears come alive. Before her, there was no image for these women’s experiences. These uncertain boundaries are exactly where He likes to place us…yet, they are drawn with infinite compassion. He takes us on that journey of empathy.” The same can be said about the painting “Human Trafficking”, the trilogy “Human Cargo” and his drawings of female circumcision.

He himself said: “I try to get justice for women… at least in pictures…”.

He died in 2022 while he did not stop creating.