As in her other piece KILL YR IDOLS, in 6% Sábada examines mass media accounts of feminine identity. She looks specifically at the reading presented in those magazines with a female readership in mind. Formally, the piece is edited in a quick, hypnotising and attractive manner, such that the narcotic effect that these ads have on the spectator, is emulated. Before our eyes a fragmented and brief montage of “perfect bodies” and canonical poses by supposedly physiognomically ideal women is projected. But the sense of evasion and superficiality is suddenly broken with the messages and slogans intercut by the artist. These refer to the reality of women’s bodies and conclusively expose the fact that only 6% of women possess these canonical measurements.
Influenced by the constructionist tendencies in feminism, Sábada’s formal strategy introduces us “into the dream” in order to then abruptly wake us from the deception. The piece is a classic within Spanish feminism, due to its effective handling of the question of the tyranny of the alleged models of ideal beauty imposed on women.
Sábada is one of the most outstanding artists of the generation of Spanish women artists, who, in the 1990s, and still with scarce technical resources, start using video as a weapon to dismantle gender stereotypes from a feminist perspective.
Titles such as A mi manera [My way], 6%, or El concurso de la gran felicidad (esto pasa mucho) [The game of great happiness (this happens a lot)] have become indispensable in any anthology of Spanish feminist video.