Revered as an icon of revolutionary art and unique representation of her indigenous culture, Frida Kahlo created autobiographical artwork that captured a state of mind as well as an incredible record of a remarkable life. Kahlo represents the experience of a woman in the rapidly changing climate she immersed herself in based on her own turbulent experience. In an effort to categorise her work, it has been lazily described as folk art or surrealist art but Kahlo herself is more apt in describing herself as ‘a ribbon around a bomb’. Born in Coyoacan in 1907, Kahlo allegedly told people that she was born in 1910 so that her birth coincided with the beginning of the Mexican revolution. Having survived childhood polio and suffered chronic and agonising health problems throughout her life, many of which were a result of or exacerbated by a terrible traffic accident in her youth, Kahlo revealed discovered her artistic passion and talent when she began to paint during long periods of convalescence. She revealed an extraordinary ability and unrivalled determination to express her pain and suffering in her work. Having endured over 30 debilitating operations, she spent prolonged periods of time in solitude, isolated in her bed she found solace, catharsis and escapism in drawing and painting and quickly recognised it as her destiny and purpose. Famously embroiled, inspired and plagued by a turbulent relationship with artist Diego Rivera, her paintings and drawings articulate the events in her life with harrowing and direct honesty. The details of their love, his betrayal, her heartbreak and the tragedy of miscarriage are documented in the same poetic manner as the experience of injury and immobility like beautiful exorcisms of suffering. She and Diego were prominent figures in the Mexican Communist Party and it was in a communist street demonstration that Kahlo made her last public appearance shortly before her death in 1954. Representations of pain in her work depict brutal interventions that were intendeded to heal or correct damage. Some work depicts the bed she spent so much of her life confined to, some describe hellish entrails, and dismembered body parts representing her trauma in horrifying clarity. Somehow these disturbing images don’t feel self-pitying, but defiant, disarming, blatant and even humorous. They occupy a strange subliminal space, a limbo between ordinary life and harsh, unremitting reality- a space which Kahlo spent long periods of her life fighting to escape.