LIVES AND WORKS
LIVES AND WORKS
Born in Santiago de Chile he spent his youth working with copper in a family arts craft business that opened his mind to the world of sculpture. The 5 years of academic training he also spent in Chile studying architecture and when it was finished he moved in early 1976 to Barcelona, Spain and began working as an industrial designer for a living. And what it should had been a short period turned into nearly 30 years working as an industrial designer, graphic designer and image consultant, varying in years and with different companies. And starting 2000, he expanded his skills in home renovation for several years and almost in parallel he was in charge of the development and management of a website of a tourist apartment company.
It was not until 2014, when his work began to slow down, that he was able to look back to the incipient work that had been left in the Santiago arts craft workshop and decided that it was time to close the gap between both periods.
Having studied drawing, metal engraving, architecture and with all the years of experience as an industrial and graphic designer, he started out as a self-taught working in sculpture and using the materials closets to him and to the workshop that needed to be completely transformed, from the old design studio to a more or less suitable place to develop the incipient work.
The place itself with its many limitations to be a true sculpture workshop, since it has very little natural ventilation. So as a first step and experimentally, he decided to use the materials that could be more related to his previous works as designer, and with which he could work more easily; cardboard and recycled cardboard boxes, some pieces of wood, normal glue and acrylic paint to start his work, adding also boxes of Tetra Brik and dust marble. It must be said very cheap materials that have allowed him to working intensely through the years without having to be in financial trouble.
Working all this time manually with basic tools and recycled material has been an interesting exercise at the level of practice and development. This has served to highlight the meaning and importance of learning in the manual trades of artisan work in an industrialized world, in turn recovering in some way the organization of the work learned from an early age in the artisan workshop with the family, the importance of the arts and crafts.
The concept of Arte Povera is intimately linked to the base of the work carried out with the use of very basic materials and tools and also to the concept of Minimalism, trying to simplify the figure as much as possible to achieve a forceful expression with minimal elements. The work carried out is completely define by these two basis adding Brutalism to Minimalism due to the expressive violence that the works, reduced to their minimum expression, manage to take from the creative base of their interior. The simpler the figure, the cruder is the reality it expresses, without traps or veils. The idea of going to base taking out everything that could be superfluous, shown in recent series where bare cardboard is the only material used for the work, has been a constant in his work.
This is where Rationalism appears because nothing that has been done is improvised; the different stages have been planned to be able to build on them the following steps. Everything is simply planned and organized and nothing is out of order.
On the other hand, in the work carried out, the theme varies constantly since it is a way of constantly forcing the imagination, with the need to have several projects in a row waiting to enter when another is finished without interruption; even also developing two different projects at the same time to keep the mind always working. Where the passion is there has to be work and more work.
And within all these variables of work the human being and his ability or not to connect with others is the constant that relates everything. Expressed in different states of abstraction and in different ways of relating to others, loneliness being a constant that ends up giving the order to the entire work.
It is recurrent to see the human being surrounded by people who not only do not help but also can also create barriers and make it even more difficult to build relations with others. We know that living together is difficult, and sometimes people look for ways to make the living together even more difficult when the value of individualism trumps all others.
This moment of greater isolation as a consequence of the Covid pandemic, has shown more clearly how people react as individuals without thinking that the true solutions must be global on a global scale and not only protecting small groups; rich countries use all the resources they have, leaving all the rest of the world behind, not realizing that they will not do well that way.
And all this time of reflection has allowed to see all the work carried out with a clearer perspective, even knowing it almost from the beginning, that the work with recycled packaging cardboard, due to its characteristics, results in finished pieces being very fragile, even easily being damaged by the effects of humidity. It is clear that to the low investment in materials, has allowed working with great freedom, speed and efficiency; without having to be linked to the world of galleries and without having to transform creative work into money. Taking this into account, the work carried out during these years has more the characteristic of prototypes or models, of projects to be developed in the future. It has been a very creative and fruitful learning period that must now be expressed in a different way. When working the pieces the feeling was that they should be of much larger sizes, not possible at the time, where the viewer is no longer passive, but can interact with the work, walking underneath, playing around or just having the feeling that the viewer can form part of the work.
In the years to come, after having being working with only recycle cardboard packaging as a base for the past few years, the work will need to get to other dimensions. In this last year and just as a beginning some experiments have been carried out in plywood and Corten steel as a first step of the evolution that has to come.
A complicated future like the current one, when things have gotten more difficult, to get involved in industrial processes and come into contact with metal workers, foundries, wood workshops and the different new technologies of today’s world such as digitization of work and involvement in 3d prototypes for industrial processes.
Difficult moment also in which external financial resources will be needed; the craftsman in his workshop will need to go out and ask for support of Patrons or Sponsors and Curators to be able to transform the prototypes into real pieces of much larger sizes. It is the project of the future mixing the personal work of his workshop with the manufacturing processes; a great challenge full of unknowns that will need the support of investors to move forward.
Maintaining the concepts of Arte Povera and Minimalism that are the basis together also with the Rationalism of the work and the Brutalism as a way to impact the viewer who needs to become part of the work as well, the artist does not want to get away from his work but wants to be protagonist together with the viewer, making him not only a spectator but also a participant in the work, to share the experience. The future is ahead to see.
WHO I AM
Sculptor using concepts of Arte Povera; Minimalism; Brutalism; and Rationalism for his prototypes
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