She was born in Venezuela and lives in New York City. We will present her large size photos. Dinorah Delfin's paintings and large, striking Photoshop compositions are the subject of a one-woman show at Elga Wimmer's PCC, curated by Björn Ressle. Delfin is a multi-media artist who does not claim to be a photographer. Yet she masterfully uses photography in these compositions in the same way the Dalí used his photo realistic drafting talent—to further her thematic ends. Her lighting preferences have been compared to those of Caravaggio, since, like him, she uses saturated colors and extreme contrast between light and dark, while the photographic medium matches his literalistic naturalism. Composition-wise and thematically she displays even more similarities to Dalí (whom she venerates), namely, her use of distorted or exaggerated perspective, added symbolic objects often floating through the air, and hyper-realistic figures and settings. Like Dalí, her imagery is often highly personal, remaining enigmatic to the viewer, while the overall impression of the images is intriguing and disturbing. And she adds some symbols dear to another of her surrealist forebears, Francis Bacon. The show is dedicated to her mentor, Chuck Close, whose image appears in several of the works. Delfin's signature image-object is herself: nude, sexy, often heavily made-up, usually present in multiple iterations, involved in some intimate or abusive activity, and looking at the viewer with a range of expressions, from reproach to blankness or submission. The sets are ornate, and objects are freely added in—butterflies, birds, balloons, and stuffed animals—and some, such a toy soldiers, recur, offering clues to Delfin's thematic intentions.