How did you get involved from such a young age with art?
Art was always present from an early age. For me it was more satisfying to be calm, producing something with my hands, than to be running around the playground. So, from a very young age I was interested in drawing, painting, and about creating objects. I always had that creative side. Also, the fact that at that time there was not so much technology, forced you to awaken your imagination. Now technologies solve entertainment, but back then one alone had to invent our own hobbies. The truth is that I spent a lot of time drawing, painting, in that intimate world that I loved.
At first it was something that I liked to do, but when I started my secondary studies, I chose to do it with an orientation in art, design, and communication. It was quite intense because we spent many hours there, we had many tasks for different theoretical and practical activities. But it was good because you shared the time doing something you liked and hanging out with your friends and learning, too. I had very good professors and this gave me an excellent basis to later continue with university studies. That served to finish defining what was latent in me, so that later I could choose art as a vocation.
How did you get the articulation of the language of Plegados, your most recent series?
Plegados is the result of many years of different searches and of exploring and playing with the compositional elements, the elements that painting itself offers you. It also has a starting point during the years of university, when they asked us every year to prepare a painting project, and this forced us to investigate and look for a theme that we could project on the canvas. I always liked to articulate opposite elements, and the dialogue that arises from this encounter.
Before Plegados, I worked on a series called Lúdico and that showed different children in a game situation, and they were different characters that were superimposed in front of an abstract background. There we can see the seed of Plegados. In Lúdico, one of the images had a girl who was playing with paper boats, and there I loved representing the world of origami, which later became the protagonist. The geometric element was also something that always caught my attention, I don’t know why. Perhaps it has to do with the fact that I am a bit structured for some things, and the world of geometry is more controlled, more mathematical, more exact.
I am a bit obsessive and meticulous about detail and about studying forms quite thoroughly. I don’t consider myself hyperrealistic, because hyperrealism has a level of technique and perfection that simulates something almost photographic. In my case, when you see my work, you realize that it’s a painting, but I do love playing with tricking the eye, creating the illusion of the 3D effect, which is the goal. I make the cranes, photograph them, prepare the sketch digitally and then transfer it to the canvas. It is a fairly long process; it is a study of the image that does not start with the stretcher and with the oil. First think about the idea and then concretize it through different stages.
If you had to describe your work in three words, what would they be?
It is quite complicated to make such a synthesis of a work that has many vertices, but if I had to say 3 words, I would say that it is dual, because it confronts elements of a very opposite nature -the abstract and the figurative discourse-, but it merges them and allows an encounter and a new dialogue. It is bright, it is very colorful, it has very vibrant colors, and it wants to convey a state of serenity, of a positive vibe. And it’s also a bit autobiographical because it has to do with different moments that I had to go through during my life, and each title, of each of the pieces in Plegados, has a meaning closely related to that life story.
Can you tell us the story of the 1000 cranes?
I did not know the story and the crane was always the figure that I liked to represent the most. Later, over time, researching, I knew a true story, which is also linked to a Japanese legend. Legend has it that if one makes 1000 cranes, one wish is granted. And that legend is linked to a true story related to the Hiroshima bomb. A girl who lived in that area became very seriously ill due to the effect of radiation, and when she was hospitalized, one of her roommates told her the legend of the 1000 cranes. She started making them, to ask to be cured. The story ends with a sad ending, because the girl completed 600 and finally dies, but her friends conclude this mission to get to 1000. This story becomes a symbol of peace, also of wanting to heal and clinging to life. I felt a point of connection with my particular story, because I also had to go through a fairly delicate disease, which was very moving and dark, but it helped me to rethink a lot of things and order the priorities in my life, it brought me a lot of growth, it helped me to return to my essence, and to retake the reins of my artistic work a bit, which at that time was in second place.
How many cranes are you missing for the 1000?
I didn’t even get to 100, but I did a few. I will continue doing them. It is a story that I found symbolic, exciting, beautiful and that transmits a symbol of peace in the world.