View In Room
View In Room
Acrylic on canvas
Dimensions: 135cm (H) x 200cm (W) x 4cm (D) / 53.1" (H) x 78.7" (W) x 1.6" (D)
Note: Actual colours may vary due to photography & computer settings.
In my proposal, the material of the work has strength and speaks for itself, the material is the basis of what I want to transmit or propose, ceramics itself as material, it is what is revealed in the work. I propose an abstract iconography with piece that evoke protection, that receive, and have a center or an interior. Circular shapes make in my work a language of the form, in general they have neither beginning nor end, they are closed pieces, that makes them container and makes the piece of art contain something inside.
There is a mystery in the sense of what happens in the execution, of the gestures that remain in the piece of art, of the moment when it was made, of the accident, the brand, the sign, of the unexpected that happens while you are working with de materials
The line that is drawn with the tool has to do with the painting itself, it is the union of the form with the matter. The line drawn reveals something perhaps hidden underneath the painting, with the line being repeated, paint is drawn to show something.
In my art there is a paradox of trying to reveal something through constant concealment. I do this by two actions: one to re-cover with layers of paint and the other to dis-cover something through manual gestures. Both actions, always in tension, aim to experience the pleasure of painting and at the same time, reveal a mystery; the secret of the moment of painting.
The circle, perhaps the most recurring figure in my work, adopts, depending on the material or the tool that I use, different appearances, some more expressive and others more contained. This "circulismo", without beginning or end, is consistent with my working method: to reiterate without a clear, hidden purpose, a basic and current action, a mantra perhaps, a very concrete (geometric) image and, at the same time, very ambiguous and with multiple connotations.
There is a counterpoint in the interior and exterior of the work, in the smooth and in the textured, where the smooth with a defined shape is contrasted with the textured with an irregular shape, the smooth emerges from the texture transforming itself. The space is tensed by the interaction between the empty and the full of the form. The circle is related to the smooth, and to the concrete image of its shape.
As an artist I try to capture in my pieces the secret of the moment of working, I feel the need that the action of working, is revealed in the work and that become part of it. I am interested in the magic that the piece of art acquires as it become independent from the artist.
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Based in: Santiago, Chile
After my bachellor degree, I got a Masters Degree (Mention Painting) at Catholic University of Chile Art School. I had the privilege of having as teachers National Prize Winner José Balmes and Gracia Barrios, also distinguished artists as Gonzalo Cienfuegos.
I participated in internationally known artist Eugenio Dittborn´s workshop for artists who want to analyze their chosen language in art. After this soul searching I approached Huara Huara studio, directed by Ruth Krauskopf, where I am a member already for 7 years. I also work in my private studio, and I attend Huara Huara to share criticism and activities.
My work in clay sculpture is about the simplicity of forms, texture, nature and ethnic magic. I have had three solo shows and nineteen colective exhibitions in Chile, one in France. Past year I have been selected, among many postulants, for the Chilean Pavillion in the Revelations Biennale 2019, Grand Palais, Paris.
I have been selected for Korean International Ceramic Biennale 2019 KICB, for the web exhibition, at Gyeonggi-do, Republic of Korea.
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