𝐁𝐋𝐎𝐎𝐃 𝐁𝐈𝐓𝐂𝐇

𝐋𝐀𝐃𝐘 𝐎𝐅 𝐇𝐎𝐑𝐑𝐎𝐑𝐒

Carmilla del Rio finds comfort in the uncomfortable — New Jersey native Del Rio, who moved to New York after attending Columbia University, creates art to confront fear. Her sudden detour from production designer to painter is defined by her as a "second wind." Rejuvenated by pursuing her true passion, Del Rio peels back the layers of herself and travels to lengths that few are willing explore. Her works are described as a creative regurgitation of sorts projected onto the canvas, splattered in red with a message that is tangible. Her approach to unmasking the grotesque includes splitting torsos in half, anatomical distortions, dissecting the feminine, naked figures laid on chopping blocks awaiting knives, and more. Del Rio insists when we restrict ourselves and our desires to societal expectations "we become victims of our own slaughter." This reflects her take on femininity, sexuality, and human transformation. Del Rio's works teaches us a lesson that change isn't always pretty; it takes the courage to confront the fear of taking the first step into what she describes as our new dimension. She considers what she creates as "a rude awakening" to herself and to the world. Her personal characteristics matches her works — bold, confrontational, and unapologetically honest.

"RETURN TO SENDER WAS A FILM THAT QUITE LITERALLY SWEPT THE ACADEMY. IT WAS A HUGE SUCCESS YET SHORTLY AFTER THAT BUZZ YOU DECIDED TO MAKE A DECISION TO WALK AWAY AND DIVE HEADFIRST INTO THE ART WORLD. IT WAS AN UNEXPECTED TURN OF EVENTS AND MANY ARE STILL TRYING TO FIGURE OUT WHAT HAPPENED. THERE'S A LOT OF PEOPLE SAYING A LOT OF THINGS, QUESTIONING THIS CHANGE YOU SEEMED TO MAKE IN NOT ONLY YOUR CHOICE OF WORK BUT IN YOURSELF. CAN YOU EXPLAIN THAT? THE CHANGE?"

DEL RIO: "Look, I consider myself a dramatic girl but not that fuckin' dramatic. There's nothing to explain, so there's no reason for anyone to be this bent outta shape about it. I was at a time in my life where I just said y'know what— fuck it. There's this fear of being called selfish, especially for women, and it's really restrictive when it comes to any form of art. We're constantly breaking our backs in order to thrive in spaces we're not expected to be present in. We're expected to dedicate our time to this and that and show up for everyone and their mother but when it comes to ourselves? Hell no. The minute you ask well where do I fit in in all this the response is always oh well honey remember it's not all about you. Then what the fuck is it all about? If you know please tell me, because I'm not seeing the logic here. I mean, we are... constantly fighting against our own will and ambition in fear that it'll make the person sitting next to us uncomfortable. I can't live like that. If there's a crime in that— in being bold, in being self assured, in being absolutely dedicated to yourself and what you bring to the table... then it's one I have no guilt in committing. Not anymore. That's just me, Carm, and if you can't handle me then there's the door. Trip on your way out while you're at it so I can at least get a good laugh."

CARMILLA DEL RIO IS AN AMERICAN PAINTER AND PRODUCTION DESIGNER BEST KNOWN FOR HER SHOCKING WORKS AND IN-YOUR-FACE ATTITUDE . Carmilla was originally created by Carmen Maldonado to exist as her alter ego whose aesthetic was based on her repressed interests in gothic literature, horror hostesses, and fascination with vampires. With an intent to avoid moral responsibility after her first kill, Carmen used Carmilla in means of experimenting with a "different" identity to alleviate the tensions brought on by the lack of satisfaction in her personal and working lives. After the release of her debut solo exhibition, LA METAMORFOSI, Carmilla eclipsed Carmen, surpassing her role as an alter ego to become a primary self. Carmilla came to a conclusion that Carmen had been the imposter from the beginning, hiding her from the world by wearing her skin and posing as a restricted version of herself to appease the expectations of those around her.

SINCE HER TRANSFORMATION, DEL RIO HAS BEEN RECOGNIZED AS AN ARTIST UNAFRAID TO EXPOSE THE OUTRAGEOUS AND GROTESQUE. Her latest exhibitions are THE IMMACULATE CONCEPTION OF FILTH and THE ANATOMY OF FAME. The act of murder has become a part of her artistic process and she incorporates a part of each victim into her paintings (their blood, being the most common). In the public eye, she thrives on controversy and has developed a large following because of her offbeat personality, risqué style, and charmingly crude sense of humor. Despite her controversial reputation and hidden role as a murderer, Del Rio values the lives of those closest to her and enjoys creating new relationships. Carmilla's role in Ash's DEVIL DOWN SUNSET challenges the stereotypes of what makes a killer and the effects of utilizing the uncomfortable aspects of celebrity life to one's advantage. Del Rio is an example of how the obvious, in a society resembling a cult of celebrity, can be overlooked or even applauded.

AN EXPLORATION OF: TRANSFORMATION, THE MIND OF AN ARTIST, UNMASKING FEAR, BECOMING COMFORTABLE WITH THE UNCOMFORTABLE, THE CONSEQUENCES OF A RESTRICTED CHILDHOOD, THE ELEMENTS OF SHOCK VALUE, CREATING POP CULTURE MOMENTS, THE WILLINGNESS TO DRAW BLOOD IN PURSUIT OF SELF LIBERATION, FEMALE VAMPIRISM AND THE EXPLORATION OF SEXUALITY, KILLERS WITH HEARTS, IDENTITY CRISES, THE GROTESQUE IN ART AND ITS ASSOCIATION WITH FEMININTY, CALCULATED CONTROVERSY, THE PRETENTIOUS CREATIVE, EXORCISING GHOSTS OF THE PAST, HIDING IN PLAIN SIGHT, SELECTIVE OBLIVION WITHIN STAN CULTURE, CELEBRITY WORSHIP, BECOMING THE EXTREME, DOING THE OPPOSITE OF WHAT YOU ARE TOLD

AN ORIGINAL CHARACTER WRITTEN FOR ASH'S  ORIGINAL CONCEPT, DEVIL DOWN SUNSET. AFFILIATED WITH LUX, KATIE CLEM, AND NOVA REIGN