Abstract: Chilean Canadian artist Susana Wald (b. 1937) embraced Surrealism in 1963, finding in its principles a framework to explore the dreamlike, the automatic, and the metaphysical for six decades. This article analyzes her series Huevos (Eggs, 1997–2006), where the ovoid form, central to enigmatic landscapes, functions as a symbolic node that inserts her into the surrealist tradition—reviewing its transformative and alchemical function—while simultaneously reflecting her personal and collective concerns. It is argued that, through this motif, Wald addresses the historical omission of women and the climate crisis, linking her work to feminist and environmentalist concerns, thus situating her Surrealism in a vital dialogue with contemporaneity.
Macarena Bravo Cox (Sun,) studied this question.