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My creative process in the studio is a bit bucolic and nostalgic; it takes me back to the mountain where I was born and raised. Everything seemed available back then; it was almost like I owned everything on the mountain. I played with all the materials that Mother Nature offered up, so my toys were sticks, leaves, branches, mud and makeshift tools that I used to build improvised hunting weapons, and I let my imagination run wild in springs, caves or trees.
Back then it was normal to feel like the world was a canvas where I could explore infinite possibilities based on what the earth offered. In my current creative space, I translate that spirit into threads, natural pigments, wood, paint, wool, clay, etc…
Thread and wood have been the backbone of my artistic work, a personal canvas on which I’ve been able to understand and expand my understanding of color, light and movement, elements that have always interested, and challenged me as an artist. As a curious person, I also like to explore other crafts, like ceramics and photography, to keep playing with these fundamentals.
I’m constantly looking for techniques in which I can connect my physical and spiritual body, and always exploring ways to portray what’s not immediately perceptible (or material). My creative process uses countless kilometers of threads that slip through my hands to build each piece, transferring my organic residues and the magnetic charge of my body. I perceive the finished pieces as organic objects, and almost as spiritual bodies.
It’s impossible for me not to feel like the result is a kind of talisman or energy center, capable of connecting with places and living beings from a spiritual plane. That’s where my childhood world and my current world are also connected; in these spaces where magic, rituals and mysticism are normal parts of everyday life.
There is an ongoing interest in the architecture of ancient civilizations, and in their textil traditions, but for inspiration I also dive into contemporary Latin American currents like concrete art, op-art and kinetic art. But I prefer not to “hyper-intellectualize” or politicize my inquiry — I don ́t want to limit its intuitive and spiritual nature.
My work as an artist has been the best way for me to connect to and acknowledge myself.
It’s also been a beautiful way to discover myself the world.