This series of works are born from the aesthetic research on the pre-hispanic heritage of Peru, the Inca Culture. Although I... Read More
This series of works are born from the aesthetic research on the pre-hispanic heritage of Peru, the Inca Culture.
Although I was born in the country, I grew up at Venezuela, under a different culture.
During my residence in Peru, one day, I decided to visit the National Museum to know a little bit more about the culture. There they had important exhibitions of archaeological textiles and metallurgy.
It ended up becoming a decisive visit for the development of the Alta Vibración Series.
In those exhibitions I could see that the Incas dominated geometry, symmetry and color. They worked in harmony with mother earth to obtain raw materials, they were diligent craftsmen and had a refined taste for aesthetics.
From which emerged a proposal to present kineticism with a more demanding craftsmanship, where the line is thinner, increasing the frequency of chromatic events under simple geometric figures that simulate the ancestral textile interweaving, using more contemporary color palette, and where certain dynamics of geometric volumes allow captivating vibrations.
One of the most interesting experiences was to discover that the Inca ceremonial knife, "El Tumi", had auric proportions, fitting perfectly with the proportionality of auric segments.
Furthermore, the Andean Cross or Chacana, which refers to an Inca word meaning stairway or bridge, dating back more than 4,000 years, circumscribes a square within a circle that touches at eight points. It inevitably evokes the Canon of Proportions or Vitruvian Man by Leonardo De Vinci. It suggests an advanced study of man with his environment, which is evidenced in the astronomical and/or seasonal management of agricultural processes and domestication of nature.
The Andean cross is known as "Jach'aqhana" which means the light of the Andes.