ABSTRACT
This article aims to analyze, from a Bakhtinian perspective, the grotesque construction of Mexican artist Frida Kahlo’s body through a religious worldview. Therefore, we analyze two of her self-portraits, taking into account the dialogic relations constructed between the grotesque representations and Catholic symbology. The analyzed utterances, in which the specificities of the creative competence of the author-creator in her aesthetic activity are inferred, showed that a dialogue is established between the painting El venado herido and Catholic Saint Sebastian and between the painting Las dos fridas and the image of the Sacred Heart of Jesus.
KEYWORDS:
Frida Kahlo; Grotesque body; Carnivalesque worldview; Religious worldview; Self-portrait