I started painting when I began what I call “the second part of my life.” Perhaps that’s why my work is “a record of the human biographical footprint in different cloths, (…) in a style that oscillates between a glimpse of surrealism, symbolism and pop,” as described by Eugenia Brito, a Chilean poet and critic.
I had a rather lonely childhood, with an absent father. So, I finger-painted and wrote poetry.
When I was 14, I lived a big change. I went from a private school to a public one, and along with that I actively engaged in the process of social justice led by Allende in Chile. After the 1973 coup d’état, my commitment was strengthened, and I joined the fight against the dictatorship, in pursuit of human rights and democracy; I assumed leadership roles and was detained by the repressive bodies of the state.
In the 1990s, a few years after the restoration of democracy in Chile, I experienced another big change. I gradually moved away from active politics, because it was fragmenting, it was moving away from the social base and enclosing itself in the world of elites. Thus, I dedicated myself to management, especially in the energy sector, and designing architectural projects.
When I turned 50, I was determined to turn my life around in a whole new direction. Although, until then, I was taking small steps towards my creative inclinations designing houses on request. I began my journey of learning and expression through the visual arts when I first migrated to Barcelona, and there I relinquished my previous work commitments.
This has been a self-taught journey, much like the other areas I have undertaken in my life. I have dedicated myself to making records and traces, both personal and collective, through painting or precarious sculptural techniques, recreating objects that connect with memory and with the skin, such as sheets, pillows, panties, chair covers, etc., making past situations and experiences tangible and bringing them to the present.
I use various cloths, as if they were shrouds. I use acrylic in my paintings on canvas. On other cloths, I use a mixed technique, and have used bodies as brushes and different materials such as wine, semen, blood, hair, wires, plaster, etc., in addition to paints and creases. In my dire situation living with Covid-19, I used the paper and pencils I had on hand.
My work is linked to my life experiences. Because of this, loneliness, repression, the sea, women, the condemnation of injustices, children, the light of the heavens always on the move, proximity to death, and the enjoyment of life will appear.