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Library of Congress Subject Headings
Стр. 2940 – Works on human communication, including both the primary techniques of language, pictures, etc. and the secondary techniques, such as the press and radio, are entered under Communication.
Стр. 2693 – ¡ie, the Mediterranean countries east of the Adriatic: Greece, Asia Minor, Armenia, Syria, Palestine, Egypt, Cyprus. Rhodes, Malta, etc.) from the 1 1th to the 13th century, with special reference to the influence of the Crusaders.
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Стр. 2530 – PLAYS. Here are entered the texts of the Noh plays and works treating of them from a literary point of view. Works about the presentation of Noh plays on the stage are entered under NOH.
Стр. 2900 – Geog) [UA17.5] Here are entered general works on the strength of a country in terms of available personnel, including military and industrial requirements and reserve* from the non-working population.
Стр. 2845 – STATES, 1933-35 tricts in the United States as a whole and in the Southern states, but in the Northern and in the Western states the rural rates exceeded the urban.
Стр. 2992 – Works on the abuse or misuse of drugs in a broad sense, such as aspirin, bromides, caffeine, sedatives, alcohol, LSD, marihuana, and narcotics, are entered under Drug abuse.
Стр. 2801 – POLITICAL SCIENCE. Here and with local subdivision are entered works on the discipline of political science. Works on the politics of particular countries, regions, cities, etc., are entered under the name of the place subdivided by Politics and government. POLITICAL SCIENCE – ADDRESSES, ESSAYS, LECTURES.
Стр. 3015 – Works on the legal aspects of mental illness are entered under Insanity. Systematic descriptions of mental disorders are entered under Psychology, Pathological. Works on clinical aspects of mental disorders, including therapy, are entered under Psychiatry.
Стр. 2865 – USE Magnet schools Magnet schools (May Subd Geog) [LB2818] Here are entered works on schools offering special courses not available in the regular school curriculum and designed, often as an aid to school desegregation, to attract students on a voluntary basis from all parts of a school district without reference to the usual attendance zone rules. UF Magnet centers Schools, Magnet.
Стр. 2863 – Here are entered works on the use of charms, spells, etc., believed to have supernatural power to produce or prevent a particular result considered unobtainable by natural means. Works on a type of entertainment in which a performer does tricks of socalled magic are entered under Conjuring.
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Inspirations for painting on a black canvas
I always had an attraction for the plastic arts, since I was very young -at least that is what my mother tells me-, I liked to draw the caricatures I saw on television.
What inspired you to create art and become an artist (events, feelings, experiences. )?
I always had an attraction for the field of plastic arts, since I was very young, -at least that’s what my mother tells me-, I liked to draw the cartoons I saw on TV, the children’s characters that came on the covers of the notebook, even portraits of relatives, sculpture and painting. Although I considered it a hobby in childhood and adolescence.
I was always an introverted person, but I still had a happy childhood, but not in my adolescence, and it is in this stage where drawing and creating was a refuge from the bad times I used to have at school. As the time to choose higher education approached, I considered several options but as time went by I started to choose more and more the field of art. He who was only a “hobby” would become something I could not do without and otherwise I knew I lacked the tools to do anything else. With this determination, in 2004, still without having finished high school, I applied to enter the basic stage of the undergraduate program of Fine Arts at the University of Chile. I was accepted and that is how my path began, almost 20 years ago now.
What is your artistic background, techniques and themes with which you have experimented so far?
As I mentioned before, when I was a child I liked to draw the cartoons that came in notebooks and other school supplies or toys, then I began to copy the characters of the anime, so I was drawing and coloring in a self-taught way during childhood and adolescence, until I managed to enter the Basic Stage of the career of Plastic Arts at the University of Chile. This is when I began my formal studies. This stage consisted of two years prior to entering the undergraduate, in this period I had subjects of drawing, volume, surface and aesthetics. Then I was able to enter the career and there I spent several years studying different subjects. I finished the painting workshop, which was the main course, as well as the drawing and theoretical subjects, but I left some elective subjects unfinished, so my career was unfinished.
As for the techniques, my specialization would have corresponded to painting, so the bulk of my work corresponds to oils on canvas. To a lesser extent I also use oil on wood.
Watercolor on dark cardboard is another of the resources I usually use, especially for one of my series that focuses on encyclopedia images. Here I experiment with this material by applying masking tape and mixing it with other elements as well. The theme in this series is to take these images and take them out of their context and bring them into a realm where they can be exploited pictorially.
In the different techniques and materials the recurring elements in my works are the inclusion of animals, flora and human figures. Sometimes they are elements extracted from their context but in others it is the original image that is intervened.
Regardless of the project and materiality involved, all my attempts focus on a recognizable referent. There is a guide in between, and the process can be expanded reaching at times to some point of abstraction, but which will also be contained within the limits that the representative function allows.
All this, seeking to find a balance between those recognizable graphic elements and abstract, random aspects that are born during the process of realization of the work, which are not conceived beforehand but arise through trial and error.
What are the 3 aspects that differentiate you from other artists, making your work unique?
While I share a lot in terms of representational art with a huge number of colleagues, the way of approaching figurative references could be the differences. These could be the degree of license I give myself when interpreting the aspects to be captured in a work, I try to paint in a way that is not so contained although I am never completely satisfied with the assertiveness of my work, in each work I try to establish a greater synthesis when translating the referents.
I try to experiment beyond what I have already achieved in the previous work, I try not to be satisfied with a result.
I give importance to the fact that you can see the layers in which the image is structured, the transparent areas that reveal the steps that have been shaping the work.
Where does your inspiration come from?
From the materiality of painting as a medium in itself, its possibilities of exploitation and how to use it to represent the different beings and elements whose presence I find fascinating, such as animals, giving them an existence on a different plane, making them present in places where they don’t seem to belong, leaving them out of the utilitarian role they are usually given.
What is your artistic approach? What visions, sensations or feelings do you want to evoke in the viewer?
In the viewer I hope they have a moment of abstraction, to leave for a moment of their daily life, to see what interpretations and sensations the work moves them pictorially and what things it speaks to them metaphorically, for my part I think there is something that could go back to childhood perhaps. I remember as a child several fable tales, where animals personified human behaviors, leaving a teaching that had to be learned. Perhaps in my paintings these characters confront each other: the animal, the human, and the question of which is the beast that must be personified, and to this is added the factor of the floral arrangement, which comes to remind that all this withers at some point, that added also to the representation of animals such as the huemul, that its very danger of extinction emphasizes this characteristic of the perishable. Here the mixture of the human figure and these animal presences within the same space could be seen as the clash of these worlds, the invasion of man, but this is only a glance, since it could also be that more than a clash it is a kind of dialogue that we cannot hear, but we can witness and imagine it.
What is the process of creation of your works? Spontaneous or with a long preparatory process (technical, inspiration from the classics of art or others)?
It depends on what series of works I am working on, if it is the watercolor series it is usually a process of selecting an image and going from there, if it is other works, the process is longer, because I have to compose a scene using different elements that can come from different images. I usually take days to compose a scene that I find coherent and attractive pictorially.
Do you use any particular working technique? If so, can you explain it?
In my recent works I paint the background in black, solid black, and I go through layers, where I leave the background as the darkest shadow and then I demarcate these areas with masking tape, I pass a layer of spots, I randomly add small spots, or larger spots, across the entire canvas, I wait for this to dry and identify the areas that remain in the level of darkness, I demarcate again with masking tape and here comes a layer where I try to use a large brush and that the mark that is leaving is noticeable, I wait for it to dry, and from here, I start to paint more conventionally, so to speak. I also put a layer of masking tape when the plants are interposed against the human figure, animals or other elements that are included in the image, and that interweaving is what attracts me most in this process, where parts saturated with oil paint are contrasted with others where the lower layers are visible, making it seem as if some elements and parts of the figures were transparent, giving them that transitory character, where the elements do not seem to be completely present.
Are there any innovative aspects in your work, can you tell us which ones?
I think that in terms of painting it might be difficult to indicate something as innovative, perhaps characteristic could be the process I mentioned above.
Do you have a format or medium with which you feel more comfortable? If so, why?
I would say that oil on canvas is my favorite medium, because there is a window of time to modify the painting before it dries completely, you can manipulate its texture, its fluidity. Although in oil on wood I find that the act of painting becomes more fluid than when it is on canvas. I hope to use this medium more in the future.
Where do you produce your work, at home, in a shared studio or in your own studio? And in this space, how do you organize your creative work?
I produce my works at home, in my studio-room, so to speak, which has been expanded over the years to have more space, however it is not a very large place which limits the size of the formats I have to use, I hope in the future not to have this restriction, as I would like to experiment with larger works. I have an area dedicated to paintings on canvas and/or wood, where I have a couple of easels and another space where I have a drawing table which I use for watercolors.
Does your work take you to travel to meet new collectors, for fairs or exhibitions? If so, what does it bring you?
I have been able to travel to exhibit on some occasions to other regions within Chile, it is enriching to know the art scene in other locations. However, it has been my works that have traveled much more than me, they have reached other continents, places where I have never reached and maybe I will never reach either. They have traveled miles around the world, crossed oceans and reached different countries carrying a little piece of me in them.
How do you imagine the evolution of your work and your career as an artist in the future?
I hope to continue experimenting and progressing in terms of technique when it comes to the realization of my works. I also hope to get more exposure, exploit the possibilities offered by social networks to publish the creative process involved in the works. Of course continue to apply to the various calls. Continue producing and positioning myself in both group and solo exhibitions.
What is the theme, style or technique of your latest artistic production?
My last artistic production corresponds to the series Floral Arrangements, where as in previous series the name is linked to the arrangement of the elements that I include, although in this case I already leave a little of the interiors, or rather let the outside in, to include the element of flora, and here at the beginning of this series I continue using yellow and red backgrounds, primary colors, which force you to the colors that you use have the same intensity, In these backgrounds I moved the characters of this new series, repeating the use of the human figure, sometimes also the presence of animals and flora, leaves, fruit trees sometimes, different types of flowers, shrubs, which are arranged in a floral arrangement where everything is doomed to wither, we are perishable, and this is emphasized in the way some areas of the last works of this series are resolved, where the backgrounds of intense colors are no longer there, but a solid black, a void, which can be seen in the transparency of some areas, since the works in this series try to capture that, the momentary, the transitory by letting the lower layers that make up the image be seen.
Can you tell us about your most important exhibition experience?
It is difficult to determine the most important exhibition experience, because there are experiences whose importance lies in being a debut, others in being a solo exhibition, winning an award as part of this exhibition, or the prestige of the place where it was exhibited. If I take the latter as a reference, the most important would be the Arte en Vivo competition that took place at the National Museum of Fine Arts in 2010, and whose participation was designated to me by the University. Another experience that would be important because of the space where it took place was the exhibition of the Mavi Young Art Award at the Museum of Visual Arts in 2022, as I had applied on previous occasions without much luck but it was in that version where I was finally selected. As far as awards are concerned the highest was a First Place, the “First Artist Award” of the Federal Reserve circuit 2017.
If you could have created a famous work in the history of art, which one would you choose? And why ?
Any work by Joaquin Sorolla I would like to have created, to have that fluidity and precision in terms of colors, each brushstroke seems to have been put with such a level of conviction and naturalness at the same time, works of vibrant colors that continue to trepidate to this day.
A specific work, but by another artist would be “Ivan the Terrible and his son” by Ilya Repin, I find it to be shocking, both pictorially and emotionally. You can feel the horror in the faces and the texture of the carpet and drapery at the same time.
If you could invite a famous artist (living or dead) to dinner, who would it be? How would you suggest they spend the evening?
Considering my previous answer, I think Joaquín Sorolla, I would invite him to some hamburgers from a defunct restaurant. “Satanic” they were called, along with some fries. I would suggest that he spend the night painting some work so that he could, if anything, assimilate something of such a skilled painter.
