In Cristina Troufa’s self-representation, we rather witness the intelligence and crudeness of the senses, with the aggressiveness and sweetness of expressions, with the violence and bashfulness of the bodies. At times Cristina Troufa self multiplies as in a sequence of frames, creating the illusion of movement in predominantly triangular pieces of classical style, often baroque in the eminence of light-dark that benefits from the support, which is a polychromed plan, or in its natural characteristics, canvas or paper from which the figuration unfolds. Using an eminently pop palette, though, with variations with more intense light, Cristina reveals herself in the use of flat colour. Part of the originality of her work lies in the way in which the figure sprouts from the base, in an inward to the outward game, conceptually imprisoning body and soul and simultaneously placing the cry for liberation at every glance