sealed by fire
My work highlights the unique and opposing characteristics of Porcelain: transparency, fragility, strength and flexibility. I combine many of these characteristics, often stretching the material's limitations to achieve the qualities that express my ideas of movement, balance, tension, and rhythm. All my work has been informed by themes, such as ancient cultures, memories and symbols.
about butterflies in the darkness
There are places that can not be reached by words. Places where only memory inhabits our soul: Secrets, parallel paths, recurrent ghosts of dreams. Spaces where the memories and secrets are kept.Between superimposed worlds, stopped moments, I remake a puzzle revealing riddles: A house that was, the forgotten inheritance, a room and dead butterflies. Everything as a "circular ruin" returns to a beginning…
What marks our childhood?, A birth certificate, a given name?. And thus we come to the world... naked and winged.
The soul is left in photos... and a hint of dead butterflies... A forgotten toy in a locked attic, a fragile rose like those children… butterflies.
What marks our childhood?, A birth certificate, a given name?. And thus we come to the world... naked and winged.
The soul is left in photos... and a hint of dead butterflies... A forgotten toy in a locked attic, a fragile rose like those children… butterflies.
flying structures
The title represents a work about real and imaginary structures, visual and symbolic structures. Playing with forms and texts, I built flying structures. My aim was to suggest a visual journey through the piece.
witches
In this work I was investigating structures as symbols and I was trying to find a way of translating their meaning into the piece.
Metaphoric Structures
Acerca de los símbolos, el laberinto, las estructuras metáforicas, el arte y mi trabajo. Los siguientes textos son parte de una investigación que duró dos años.
El lugar en donde estudié Arte, la Universidad de Gales es un espacio en donde pensar y hacer de verdad van de la mano. El artista sabe por qué trabaja y lo que quiere decir...ahí nadie coloca nombres a las obras como "sin título" o se niega a hablar de su concepto.
La verdad es que nunca me he tomado el tiempo para traducirlo al castellano por lo que va tal cual del inglés y no todo para no aburrir.
Soy de las que pienso que es responsabilidad del artista el uso de su arte como instrumento comunicacional. El decir sobre qué trabajamos o qué nos motiva no garantiza que el observador realice la lectura acertada de nuestra obra...eso sería muy fácil, pero así el artista intenta hacer puente con el observador. La lectura de la pieza siempre será subjetiva y por consiguiente todavía más rica que la idea que la creo. A eso le llamo arte.
We live to build. Like bees and ants we construct structures. Real and imaginary structures, visual and symbolic structures. We live building bridges, labyrinths... We play with forms and colours, ignoring - forgetting - that they have been with us since the beginning of time, long before our being, long before having a consciousness of being.
These structures are symbols. The first approach to clay, for example, could result in something inevitably familiar: The resulting object could be referred to in so many different ways,... the name of it does not really matter. What matters is that in a simple action we see ourselves repeated many times, in an infinite labyrinthine mirror: a circle, a centre, a path. There are many different names for a labyrinth, walked as it has been in history so many times, and built so many times.
Throughout the ages creativity has been one of the ways in which people have expressed their inner symbols. The aim of this essay, in the first place, is to explore how symbols, specifically the symbols related to the labyrinth are reflected in different areas of human knowledge, and how that interpretation of a concept based on a magic vision of humanity becomes art.
By understanding the meaning of symbols we can discover the deeper meanings that could bring us closer to our centre of experience, we can finally understand how they are of value in our world.
I have chosen the labyrinth because it could be argued that from the beginning of all cultures architecture seemed to offer the most perfect evocation of life., therefore of the human being. The path of the man on earth can be seen through the structures he has built., and consequently, his relationship with nature through the symbols he has used. I attempt to relate the nature of the physical labyrinth to other, more metaphysical ideas used in art, literature, and all the aspects of our cultural life.
This journey undertaken to trace the meaning of this symbol relates to my personal interest in it. Its analysis relies upon the contribution of a range of discourses including psychology, semiotics, sociology and art .
Even if we think we have systematically forgotten our inner symbols, they emerge unconsciously, because they are part of our human heritage. I do not believe meanings and symbols have to be very complex to inform art. What I do believe is that they are in our collective conscious, they are as real as we are, and there is no mystery because they are inextricably concerned with us. What I consider to be a symbol is that which has a common root in our life and soul and its conventions of visual communication rather than being merely a collection of static forms in history. Symbols for me are alive with meanings and concepts.
“If it had been possible to build the Tower of Babel without climbing up it,
the work would have been permitted”(1)
F.Kafka.
The need for using a personalised inner visual language to express and to communicate our most urgent beliefs, emotions and ideas is not something new at all. The human being has always used visual language as means of communication. The use of symbols is it not essentially an intellectually inspired form of art, although concepts and ideas play a very important part in it, it is in the centre of the labyrinth where intuition and intellect meet. It is maybe because of my previous experience in the creation of messages for advertising and my approach of understanding art from the point of view of the journalist that writes previews and gives critics, that I understand art has to communicate meanings. Art is communication. The responsibility artists have towards the public is essential,. The artist should have the need of given sense to his creative urge by means of communication. Symbols as meanings are ways to contact those different realities they represent: the work itself, the artist and that who witness it.El lugar en donde estudié Arte, la Universidad de Gales es un espacio en donde pensar y hacer de verdad van de la mano. El artista sabe por qué trabaja y lo que quiere decir...ahí nadie coloca nombres a las obras como "sin título" o se niega a hablar de su concepto.
La verdad es que nunca me he tomado el tiempo para traducirlo al castellano por lo que va tal cual del inglés y no todo para no aburrir.
Soy de las que pienso que es responsabilidad del artista el uso de su arte como instrumento comunicacional. El decir sobre qué trabajamos o qué nos motiva no garantiza que el observador realice la lectura acertada de nuestra obra...eso sería muy fácil, pero así el artista intenta hacer puente con el observador. La lectura de la pieza siempre será subjetiva y por consiguiente todavía más rica que la idea que la creo. A eso le llamo arte.
We live to build. Like bees and ants we construct structures. Real and imaginary structures, visual and symbolic structures. We live building bridges, labyrinths... We play with forms and colours, ignoring - forgetting - that they have been with us since the beginning of time, long before our being, long before having a consciousness of being.
These structures are symbols. The first approach to clay, for example, could result in something inevitably familiar: The resulting object could be referred to in so many different ways,... the name of it does not really matter. What matters is that in a simple action we see ourselves repeated many times, in an infinite labyrinthine mirror: a circle, a centre, a path. There are many different names for a labyrinth, walked as it has been in history so many times, and built so many times.
Throughout the ages creativity has been one of the ways in which people have expressed their inner symbols. The aim of this essay, in the first place, is to explore how symbols, specifically the symbols related to the labyrinth are reflected in different areas of human knowledge, and how that interpretation of a concept based on a magic vision of humanity becomes art.
By understanding the meaning of symbols we can discover the deeper meanings that could bring us closer to our centre of experience, we can finally understand how they are of value in our world.
I have chosen the labyrinth because it could be argued that from the beginning of all cultures architecture seemed to offer the most perfect evocation of life., therefore of the human being. The path of the man on earth can be seen through the structures he has built., and consequently, his relationship with nature through the symbols he has used. I attempt to relate the nature of the physical labyrinth to other, more metaphysical ideas used in art, literature, and all the aspects of our cultural life.
This journey undertaken to trace the meaning of this symbol relates to my personal interest in it. Its analysis relies upon the contribution of a range of discourses including psychology, semiotics, sociology and art .
Even if we think we have systematically forgotten our inner symbols, they emerge unconsciously, because they are part of our human heritage. I do not believe meanings and symbols have to be very complex to inform art. What I do believe is that they are in our collective conscious, they are as real as we are, and there is no mystery because they are inextricably concerned with us. What I consider to be a symbol is that which has a common root in our life and soul and its conventions of visual communication rather than being merely a collection of static forms in history. Symbols for me are alive with meanings and concepts.
“If it had been possible to build the Tower of Babel without climbing up it,
the work would have been permitted”(1)
F.Kafka.
At this stage I am sure yet about my strategy of developing these ideas in my studio work, and I believe that living and experiencing the meaning of a symbol is an important experience. By this I mean that as a foreigner, a stranger to Europe I have been acutely aware of getting lost and finding the way out of the different kinds of labyrinths: streets, languages, culture, etc. which I experienced. By evoking this by association, one could unlock the doors of our collective world, that lead first to the macrocosm, a general communicative universe and then to the primeval memories, where the mysteries and secrets of humanity are. In doing this one could bring out personal memories and sensibilities though a work of art that could provoke an inner response from the viewer.
It is an exercise in getting back to the basics through the imagined communal encounters of labyrinths. Sometimes such encounters could seem to isolate one from meaning, but once one had penetrated the rim, one realises that the journey is the only route that leads to the centre and to some resolution.
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