Sonríe Más (2024) includes Karina Gudino as the central figure, embodying a powerful critique of a common dicho that translates to “smile more.” This phrase has long been weaponized against women, used to uphold unrealistic standards of femininity, docility, and perfection. Rooted in patriarchy, it encourages women to mask discomfort, pain, and anger in favor of appearing approachable, agreeable, and attractive, particularly to men. This work rejects that harmful expectation and instead offers an honest visual commentary on the emotional toll of people-pleasing and performative happiness.

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In the photograph, Karina does not smile. Her expression is direct; not angry, but visibly disappointed. Her gaze meets the viewer’s as if asking, “Why do I need to smile more?” Her refusal to perform happiness becomes an act of defiance against the cultural conditioning that demands constant pleasantness from women. Rather than participating in the illusion, she confronts it head-on, exposing the exhaustion and insincerity that comes with the pressure to constantly meet society’s expectations.

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Surrounding Karina are smiling balloons, exaggerated and artificial, symbolizing the culture of performative joy that permeates not only real-life interactions but also through social media. These balloons represent the false cheerfulness women are often expected to uphold in order to be accepted, liked, or loved. ​

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This work challenges this narrative and offers an alternative message for future generations: you don’t owe anyone a smile. The artwork tells women that it’s okay to show their full selves, not just the polished, palatable version that society prefers. Through Karina’s role in the image, the piece becomes an empowering act of refusal, a statement that emotional honesty is more valuable than forced perfection.