Ana María Caballero
Ana María Caballero is a poet and artist whose work questions notions that present female sacrifice as a virtue. She is the author of Entre domingo y domingo (2014), Reverse Commute (2015), mid-life (2016), and A Petit Mal (2023). The latter received the Beverly International Prize and was a finalist for five other literary awards, including the Memoir Prize and the Kurt Brown Prize. His writing has been nominated for Pushcart Prizes, Best of the Net, the Academy of American Poets Prize and published in numerous literary journals. Between Sunday and Sunday he was awarded the José Manuel Arango National Poetry Prize in Colombia and took second place in the Ediciones Embalaje prize. His most recent poetry collection, MAMMAL, will be published in 2024 and received the Steel Toe Books Poetry Prize and was a finalist for the Vassar Miller Poetry Prize. Caballero studied literature at Harvard University, where she graduated with high honours.
Considered a pioneer in the world of digital poetry, Caballero has recited and exhibited her poems as works of art internationally in galleries such as bitforms, Gazelli Art House, L’Avant Galerie Vossen, UNIT London and Office Impart. She is co-founder of the digital poetry gallery theVERSEverse, nominated for the Lumen Prize and the Digital Innovation in Art Award. Her poetic art lives on at www.anamariacaballero.com.
This work, inspired by a poem by María Mercedes Carranza, proposes a new approach to literary translation, revealing the depth and power of poetic connotations through visual intervention.
Caballero interpreted Carranza’s original poem, writing an English version that resists being literary to focus on the uneasiness evoked by the original text, seeking to explore her own complex relationship with devotion and highlighting poetry’s capacity to preserve and transmit emotions. Caballero also transformed Carranza’s verses into verbal instructions from artificial intelligence to obtain images representative of the despair of the original poem, creating an archive of hundreds of images. The architecture, textures, palettes, postures, and iconography of prayer have been conditioned by institutionalised religion over the centuries. Despite this, Caballero found honesty in his dialogue with the machine, curating a visual narrative that invokes hope, disillusionment, and the loneliness of prayer.
There are few places where the personal and the universal, the sublime and the twilight, the unknown and the known meet as acutely as in prayer, but also as in poetry.
Ana María Caballero