Soy La Oruga Desnuda: The Raw Transformation Behind The Artistic Persona

In the ever-evolving landscape of contemporary Latin American performance art, few phrases have captured the public imagination quite like “soy la oruga desnuda”—“I am the naked caterpillar.” Uttered not as a literal confession but as a metaphorical unveiling, the phrase has become emblematic of a broader cultural reckoning with vulnerability, identity, and metamorphosis. Emerging from the underground art scenes of Buenos Aires in late 2023, the statement was first spoken by performance artist and multidisciplinary creator Valeria Mendoza during her controversial installation “Metamorfosis en Línea,” which premiered at the Centro Cultural Kirchner. Clad only in body paint and suspended in a silk cocoon above a mirror-lined floor, Mendoza recited a poetic monologue that intertwined themes of gender fluidity, digital exposure, and emotional transparency. The moment went viral, not just for its audacity, but for its resonance in an era where authenticity is both craved and commodified.

Mendoza’s work arrived at a time when global artists—from Arca reshaping sonic and visual identities to Harry Styles challenging fashion norms—have pushed the boundaries of self-expression. Yet, “soy la oruga desnuda” stands apart. It doesn’t celebrate transformation into a butterfly, but instead lingers in the discomfort of the in-between: raw, unarmored, and in flux. This deliberate embrace of incompleteness echoes a growing trend among Gen Z and millennial creatives who reject polished personas in favor of process-based artistry. In a world saturated with curated Instagram lives and algorithm-driven personas, Mendoza’s declaration functions as both protest and invitation—to be seen not at one’s most complete, but at one’s most truthful.

The societal impact of Mendoza’s work extends beyond the art world. In academic circles, her performances are now studied as case studies in post-digital identity formation, while therapists in urban clinics have reported patients referencing “the naked caterpillar” when discussing emotional exposure in relationships. Her influence has also permeated fashion, with emerging designers in Mexico City and Madrid incorporating cocoon-like silhouettes and translucent fabrics into recent collections, citing Mendoza’s aesthetic as a key inspiration. Even social media platforms have seen a micro-trend of users adopting the phrase in bios, not as irony, but as a badge of emotional courage.

What makes “soy la oruga desnuda” particularly potent is its rejection of resolution. Unlike traditional narratives that climax in transformation or triumph, Mendoza’s art insists on the value of being unfinished. In this, she aligns with a new wave of creators who challenge the pressure to “become” something—famous, healed, successful. Instead, she offers a space where becoming is enough. As mainstream culture continues to grapple with mental health, digital fatigue, and performative identity, her work serves as a quiet but powerful counterpoint: sometimes, the most radical act is to remain, unapologetically, in transition.