Peruvian painter Tilsa Tsuchiya (1929-1984), was consistently developing an organic painting style and while many contemporary Peruvian artists followed an abstract art-form, Tsuchiya did not fit into that trend. Although some art critics speak of surrealism in reference to her paintings, while others have been tempted to find a more native inspiration, Tsuchiya refused to be framed within one form or the other. Being convinced of the long process of finding a language within painting, she tried to follow her own path which was influenced by Eastern philosophies by producing a more metaphysical painting, in which one can observe a mystical spirit. However, it is neither Orientalism nor the possible foreign influences over locals in the painting. Rather, it is the representation of the body and eroticism, which is what was of primary interest. By plastic semiotics and semiotics of the body, this paper tries to answer such questions as how the physical dimension in the visual object works and what the links exist between eroticism and the mythical mean.