{"id":33511,"date":"2026-03-06T15:02:41","date_gmt":"2026-03-06T23:02:41","guid":{"rendered":"https:\/\/www.uwb.edu\/news\/?p=33511"},"modified":"2026-03-06T15:05:37","modified_gmt":"2026-03-06T23:05:37","slug":"my-story-what-frida-kahlo-taught-me-about-painting-the-truth","status":"publish","type":"post","link":"https:\/\/www.uwb.edu\/news\/2026\/03\/06\/my-story-what-frida-kahlo-taught-me-about-painting-the-truth","title":{"rendered":"My Story: What Frida Kahlo taught me about painting the truth\u202f\u00a0"},"content":{"rendered":"\n

Every International Women\u2019s Day, I find myself returning to Frida Kahlo.\u202f <\/p>\n\n\n\n

Not just the flower crowns or the unibrow or the merch-lined museum gift shops,\u202fbut the woman in the hospital bed, the woman in the mirror, the woman who refused to look away from her own pain. I return to her because she teaches me something about what it means to tell the truth about your life, even when it is messy,\u202fpolitical\u202fand painful.\u202f <\/p>\n\n\n\n

I started painting when I was\u202fvery young. I remember being\u202fthe kind of child who asked for sketchbooks\u202fand art supplies\u202finstead of\u202ftoys,\u202fand\u202fcarried pencils everywhere. Art was literally my first language\u202fbefore I had the vocabulary for\u202ffeminism or theory\u202for critique.\u202fBut I was also a perfectionist.\u202f <\/p>\n\n\n\n

I\u202fobsessed\u202fover\u202fclean lines and symmetry. I studied faces and tried to make them conventionally beautiful, focusing on\u202fsmooth skin, proportional features, soft\u202fexpressions. I avoided anything that felt \u201cugly,\u201d\u202fand I\u202fnever painted anger. I never drew bodies that looked scarred or imperfect, and\u202fI never explored grief, jealousy,\u202fillness\u202for any of the\u202fdevastations\u202fwomen are often taught to swallow politely. Those topics\u202fsimply\u202ffelt taboo\u202fto me.\u202f <\/p>\n\n\n\n

Because of this,\u202fmy\u202fart\u202fstopped feeling like freedom\u202fto create\u202fand\u202finstead\u202fstarted feeling like a test.\u202f <\/p>\n\n\n\n

By my sophomore year of high school, I quit. Not dramatically,\u202fjust slowly. I told myself I was too busy\u202for that\u202fI had outgrown it,\u202fbut the truth was that my perfectionism had made art unbearable and no longer rewarding. If I couldn\u2019t create something beautiful in a mainstream sense, I didn\u2019t want to at all.\u202f足彩app哪个是正规的n I\u202fwas introduced to\u202fFrida Kahlo.\u202f <\/p>\n\n\n\n

\"A
Nashed’s self portrait.<\/figcaption><\/figure>\n\n\n\n

When I initially\u202flooked at her self-portraits, I felt unsettled.\u202f足彩app哪个是正规的 first piece of hers I ever saw was \u201c足彩app哪个是正规的 Broken Column,\u201d where\u202fher body is split\u202fopen\u202fand\u202fher spine\u202fis\u202freplaced with a crumbling pillar. Nails puncture her skin, and tears fall down her face.\u202fInstead of hiding\u202fher pain,\u202fshe frames and\u202fcenters it. She looks directly at the viewer with a steady, almost confrontational gaze. <\/p>\n\n\n\n

Kahlo, who survived polio, a\u202fnear-fatal bus\u202faccident\u202fand chronic pain for most of her life, painted what hurt. She painted miscarriages,\u202fblood,\u202fhospital beds,\u202fback braces, facial hair and bodies unidealized by mainstream media. In a world that preferred women as muses\u202f(especially women married to powerful men like\u202fher husband, Mexican muralist\u202fDiego Rivera),\u202fshe insisted on being the subject.\u202f <\/p>\n\n\n\n

As a Gender, Women & Sexuality Studies student, I have learned the phrase \u201cthe personal is political.\u201d But Kahlo\u202fis the one who\u202fshowed me what\u202fit\u202flooks like on\u202fcanvas. Her self-portraits are not confessions for the sake of\u202fspectacle; they are acts of reclamation. She\u202fis the one who decides how her body is seen\u202fand\u202fwhat parts of her story are visible. She transformed her\u202fpain into\u202fauthorship, and\u202fwatching her do that felt like permission\u202fto do it myself.\u202f <\/p>\n\n\n\n

I realized that my refusal to paint anything \u201cugly\u201d\u202fwas about\u202ffear, not just aesthetics. Fear of being judged,\u202frevealing too much,\u202for\u202fof disrupting the expectation that women should be composed and\u202fdigestible.\u202fI realized that if Kahlo could paint a fractured spine and make it art, I\u202fhad\u202fno reason to censor\u202fmy own inner world.\u202f <\/p>\n\n\n\n

Slowly, I returned to drawing. At first, it was tentative\u202fwith\u202flooser lines\u202fand\u202fless erasing. 足彩app哪个是正规的n I began experimenting with themes I had once avoided. I\u202fpainted\u202fmy own\u202ftired eyes, bodies that took up space, and I sketched a brutally raw self-portrait of my own that exaggerated my features I had\u202fspecifically\u202fdeemed as\u202fflaws.\u202fI stopped asking, \u201cIs this beautiful?\u201d and started asking, \u201cIs this honest?\u201d\u202fIt was incredibly\u202ffreeing!\u202f <\/p>\n\n\n\n

International Women\u2019s Day often celebrates resilience and achievement, and Kahlo certainly embodies both. But what I honor most about her is her refusal to sanitize her experience. She did not flatten herself into inspiration. She allowed contradictions of\u202fsoftness and rage, devotion and defiance. She claimed her Mexican identity, her politics, her bisexual desire and\u202fher disability. Doing so, she made\u202fimmense\u202fspace for complexity, and she made space for me\u202fand every other young girl under the influence of toxic perfectionism.\u202f <\/p>\n\n\n\n

Art is\u202fstill\u202fmy personal hobby,\u202fbut now it\u202ffeels less like performance and more like dialogue between my inner life and the canvas, between the expectations placed on women and the realities we live. Kahlo taught me that vulnerability is\u202fa form of resistance, not\u202fweakness.\u202f <\/p>\n\n\n\n

On this International Women\u2019s Day\u202fon March 8, I am grateful not only for what Frida Kahlo contributed to art history but for what she gave me personally: the courage to create without apology,\u202fto let imperfection exist\u202fand\u202fto paint what hurts.\u202f <\/p>\n\n\n\n

I used to think art had to be beautiful to matter. Now I know it just\u202fhas to\u202fbe true.\u202f <\/p>\n\n\n\n

Karma Nashed is an undergraduate student at the University of Washington Bothell majoring in Psychology with a minor in Gender, Women & Sexuality Studies. Her writing during her college career has explored feminist theory, voice\u202fand the politics of storytelling. She is the author of “<\/em>Pramila Jayapal<\/em><\/a>,” a biography that appears in\u202f<\/em>Badass Womxn and Enbies in the Pacific Northwest Volume 3<\/em><\/a>.\u202fShe is especially interested in how art and literature create space for marginalized narratives.\u202fAfter graduation, she hopes to\u202fwork in counseling and to continue using art as a form of expression.<\/em>\u202f\u00a0<\/p>\n\n\n\n

\u202f <\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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