The beauty of strong women by Brazilian photographer Andre Arruda

These pictures were taken by Brazilian photographer Andre Arruda, who was born in 1967 and lives in Rio de Janeiro. The Fortia Femina project, which means "strong woman", is a kind of research dedicated to the study of a woman's muscular body.

In the general sense of the word, bodybuilding is just a sport in which muscles are pumped up to hypertrophied sizes only to demonstrate them, and not to achieve results at the Olympic Games or in other high—intensity sports. Bodybuilding was recognized as an official discipline only in 1940, initially it was an exclusively male sport. It was only since the late 70s of the XX century that women in the West began to seriously engage in bodybuilding in order to increase their status.

(17 photos in total)

Filipe Abro, Arte website columnist Institucional.com dedicated to art, believes that this project reveals the essence of these women from two sides at once — strong and weak. In the photo: Flavia Luzada.

Alessandra Toribio.

However, female athletes face a paradox throughout their lives: they constantly evaluate the results of their work in the mirror, but the prejudice of society prevents them from feeling like real women. They are too different from the generally accepted female image — delicate and fragile, so they are considered too masculine.

In this photo shoot, the photographer did not try to show the strength of the bodybuilders, but allowed their femininity to unfold, which gives this exhibition completeness.

Andre Arruda started working on this project in 2004, inspired by watching bodybuilding competitions. At that time, he still had no idea about female bodybuilding.

Dina Zardos.

Claudia Francis.

Andre says that the bodies of these women are like animated sculptures bathed in bright sunlight.

Alessandra Toribio.

In Brazil, bodybuilding is considered a sport that goes beyond the bounds of decency. Bodybuilders do not have any support from sponsors, and they have to earn a living by coaching.

No company in Brazil considered it necessary to take part in the project or help with the publication of the book and the organization of the exhibition.

Stella Campos.

The organizers had to listen to a lot of unpleasant remarks about this project.

Monique Venturini. 

During the next exhibition, Andre Arruda even received several letters with threats and criticism of his work.

Ana Claudia Macedo.