Dame Maria Paula Figueiroa Rego (born in 1935), or known in the Art world as Paula Rego, is a Portuguese/British artist known for her striking oil pastels, paintings, and prints. Moreso, she is known for her daring collection Untitled, often referred to as The Abortion Pastels.

Portugal is the only Country in Europe where it is illegal to obtain an abortion.

Not only is it illegal, but both medical official and patient can be charged and imprisoned for going through with the procedure. Paula, in an interview with Agnete Strom, laments that "it is unbelievable that women who have an abortion should be considered criminals. It reminds me of the past... I cannot abide the idea of blame in relation to this act. What each woman suffers in having to do it is enough. "

This is what inspired the abortion pieces.

In protest of Portugal's totalitarian roots Paula began to create pieces that represented the "estimated 20,00--40,000 illegal and unsafe abortions that take place each year." What made her pieces stand out, however, was the intensity and yet mundane quality of her subjects. There is no blood, no outright show of so-called mutilation, just everyday women, "from schoolgirls to society ladies" facing and/or recovering from the procedures they chose to undergo.

(Cite: 1)

How could these pastels "fight" for Reproductive rights?

1. The subject matter in itself is an act of protest against tradition. The Arts are used to depictions of birth as "a symbol of gladness" -- and often only related to Christ -- and have rarely seen abortion referenced so directly. Before, Art had no definition for abortion, just as Art lacks a definition for femininity without the connection to a man. In opening this door, Paula Rego has called out to artists that abortion is not and should not be taboo. Through her work, she has created a wave of artists who will continue to de-sacralize the word abortion and lead society to see the value in saving countless women's lives.

2. Through the use of bright colors and scenes Paula Rego invites viewers to observe the scenes without discomfort. Therefore inviting the audience to feel comfortable with the subject matter and thus minimizing the stigma. Paula uses only the emotions of the depicted women to speak to their bravery and humanity. -- "Many of the women meet the viewer's gaze. Others are turned in on themselves, making it clear that what is happening is no one's business but their own. None of them accepts the role of victim" (Cite: 1).

3. Abortion is only hinted in the pieces through props and association. Again forcing viewers to face the stigma within themselves.

4. The saying "the personal is political" reigns true here. The pain and discrimination faced by women -- specifically Portuguese women in this context -- is enough to be considered as a tool for reformation.

In the UK, Tracy Emin reigns powerfully in protests for Reproductive Rights with her exhibition A Fortnight Of Tears, which focuses on sexual violence and grief.

Her artwork has also proven to be popular, and easily spread, by the younger generations.

She explains that, “If you think about Me Too and Time’s Up, I’ve been talking about women’s issues the whole time. I’ve been making work about being treated shit as a woman all my life. People don’t think I’m moaning any more" (Cite: 3).

In her exhibition, The Loneliness of the Soul, Emin especially reveals art's abilities to make the viewer feel for the subject and their conflicts.

When it comes to Women's issues and suffering, this is especially important. Through these paintings, people are able to reach a level of understanding about Women's suffering that they otherwise wouldn't have been able to reach. Art makes this obtainable.