La Virgen

Growing up in Mexico City, the Virgin of Guadalupe was an image that I encountered regularly.
In my family she wasn't a very important icon. My parents are Catholic, but have never been extremely religious. My mom refused to display religious images or scenes around the house. She didn't think they were aesthetically pleasing and she also was critical of organized religion, the Catholic church, and popular religiosity in general.

The Virgin never played an important part in my life and I don't feel a personal connection to the symbol. But I do recognize its importance and mass appeal as a popular religious icon. I know that people feel a deep connection to the image and I don't criticize that, but I sometimes feel that it has been used dishonestly by those in power to get popular support for political goals.

Reflecting on Professor Lopez' research on the history of La Virgen, I find it inspiring that a symbol associated with colonial oppression and social injustice has been reinterpreted through the centuries as a source of pride and collective identity. In this sense, my reaction to modern feminist interpretations of La Virgen is one of complete agreement. They are taking a symbol associated with conservative, patriarchal social values and reworking it to expose the contradictions in society.

Personally, I feel a much deeper connection to Yolanda M. López' painting, Margaret F. Stewart: Our Lady of Guadalupe, than I do to the traditional religious icon. When I look at López' painting I see my mother, who still works as a seamstress today, spending long hours at the sewing machine, her eyes tired from work. This image reminds us that people in our own families can be a source of inspiration and empowerment.