Between 1982 and 1987, Paz Errázuriz documented the daily life of a non-conventional community made up of transgender people who worked as prostitutes in the brothels of Santiago and Talca and who suffered from constant persecution and humiliation at the hands of the Chilean military dictatorship. In 1990, once the regime ended, the resulting images of this ensemble were published in the photobook La manzana de Adán [Adam’s apple] which contained color and black and white photographs, texts by Claudia Donoso, and interviews with the protagonists.

The time Errázuriz spent alongside this community would help her create an environment of trust and respect that is manifested in photographs such as Evelyn I. In it, the protagonist reclines on a bed in the manner of a classical odalisque, looking away from the viewer’s gaze. With the bifurcated focus produced by Evelyn’s face and her body’s reflection in the mirror, the photographer interrogates the rhetoric of desire engrained in the pictorial tradition. Both Evelyn and her sister, Pilar, the protagonists of this series, were portrayed by Errázuriz in different daily situations, while doing their make-up and combing their hair, or posing next to their mother, Mercedes, for example.