In the summer of 1985, Ana Mendieta was playing with gunpowder and a chainsaw. Just 5ft tall, the Cuban American artist worked outside her studio in Rome, trying to figure out the scale of a new commission for MacArthur Park, Los Angeles. Her idea was to cut up trees and burn the gunpowder directly into them, creating a totem “grove” inspired by her recent trips to neolithic sites. It was a breakthrough of sorts – permanent, monumental work that built on her performance art – and in a photograph of her standing next to a test piece, Mendieta looks proud, excited.
She had arrived in Italy two years earlier, after winning the prestigious Prix de Rome and a residency at its American Academy. She alienated half the staff, but fell in love with the city, driving like a local (right hand on the wheel, left middle finger out the window). Mendieta admired Roman women, mailing her friend, the film critic B Ruby Rich, a newspaper clipping of a pro-choice demonstration. “She said, ‘Look, they’re not like American women,’” remembers Rich. “‘They’re showing women butchered and dead from botched abortions. Look how much fiercer they are.’”
