The icons and images of the "last great locaza andaluza."

When she painted the festivals of her town, the neighbors, the children dressed as little angels, the processions, the funerals… she exuded purity. After the dark years of a dictatorship that monopolized the culture and aesthetics of several generations, Ocaña returned to the great icons hijacked by Francoism the scent of the countryside, the light of dawn, and the feeling of home that had been transformed into dogma, traditionalism, and precept.

Discredited by her detractors, and frequently misunderstood by her posthumous admirers, Ocaña embodied a figure as complex as generous, a personality that traced in her brief journey a path difficult to categorize due to her absolute lack of prejudices or affiliations. An exercise in freedom that allowed a vitalist brightness to reinterpret the typically descriptive images of the national repertoire.

“Ocaña was perhaps the last great locaza andaluza. […] An anachronistic and contradictory figure today: the traditionalist and very religious gay woman who spent her days glued to the virgins, altars, and candles of those who condemned her.”

(Shangay Lily)