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Second course ceramic. Present, Absent.
I have been very interested about costumes subject since a while ago. I started watching from my window when we lived in a trhird floor apartment in a bulding just in Betanzos main square. I sat next to the window all the time just to contemplate people, I really enjoyed it, I felt a great atraction by town characters aesthetics in their everydayness, simples as an old men group in the square, women with their grandchildren, a mariage, mothers with their children. This daily and routine landscapes from a gallego town as well as its routine were its colors. Everybody were dressed with soft and neutral colors, gray, blacks, brown, beige.
That's how it starts, with printmaking. With time I realized that my interest was focus just in costumes and objects, watching the implication in their personal speech so I finished removing faces and bodies. I worked with wood as far as I colud. Life took me back to my country and took me to ceramics by casuality, so tranfefering the costumes concept to the new thecnique and to a tridimensional view wasn't easy, it took me several months to adapt it, and one and a half year later finally I was satisfied..
Costumes stop beeing the object to become into the character. I'm looking now to enrich not only the speech but the expression. Not looking to sculpture as "the piece" but a group of characters who talk about a situation, creating an scenery where characters develop eachother, like actors on the stage, giving to audience a complete act that provoke them. (2011). |
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Ceramic sculpture process.
1. Clay selection 2. to mix 3. Clay ready to use.
4. Base production 5. Modeling Sculpture 6. Cutting piece 7. Hollow and paste
8. Press and engobe 9. Drawing on the engobe 10. Decoration 11. kiln and polish. (2011).
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Working with ceramics.
I began very uncertain about managing and giving sustainability and firmness to the sculptures. So, I armed a structure with wire, but it was not rigid enough and when mounting the mud the weight exceeds overcaming the sculpture, so twice I finished breaking it in pieces and beginning again from zero, the third time was no necessity to wait, when setting was divided crumbling completely. So I made a new structure with wire and enmeshes of steel, and I began the base of the construction later to raise the rest of the body, while it was drying I was modeling. Now I am modeling without needing structure, but playing with the fingers and wood tools that help me to press while I am modeling. I have used some engobes and enamels for the last appearance pieces. Production has been quite successful. I am finding an amplest range of possibilities that material has which passionate me and force me to be experiencing so much in the sculpture form and its manufacture and the search of the last appearance that heightens the romanticism of the speech. I discover that in this material I feel not only very excited but it maintains me eager to want to discover my capacities, it's a challenge. (2009). |
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Wood work.
The wood engraving took me to draw on the wood, later to trim it and to work it and in a puzzle way to realise the printing. When finishing the printmaking I took these wood pieces, repeating the procedure of the drawn up one, trims and work with gouges but to do my compositions on wood frames equally worked generating textures and volume and taken part with pure oils, turpentine spirit, varnishes and pigments. This series is called wood walks, a representation of the daily walks of people that I saw from the window, taking as central object its suits and accessories that speak of them. (2008).
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Life lines series.
The life lines is the result of the work carried out in silkscreen printing and what it allows to obtain alive and solid colors. This series was, at issue technique, a color speech investigation, that's why the stage practically are a kind of screen conformed by squared strips or of some other color that establishes its own speech with the rest. I add the characters to the front outlined with chinese ink followed of the lines that end up giving the final speech to the pieces, that all we are like a thread that intercrosses in life with others at different moments, those moments are not important as encounter that's the reason why is translated like a great basic screen. This series was made to be exhibit in summer of 2008 at Galería Libertad de la Ciudad de Querétaro. (2008).
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First chapter portrait
The new story of a character begins. The first chapter of a story like one of those we see every day in each place. Stories that intimate, intercross, come together in a space or another one, a situation or another one, a number or ten, like those we recognize in front to the mirror every morning. I take this character this time, to contemplate it, to study it, to examine it, to insert me in which is and goes being a new chapter of a story. The series will be composed by ten pieces, ten pictures realised on a 45 x 65 cm size, on cotton paper of this in which he is the human being at the beginning, in a first chapter. (2007). |
Previous sketches to Couple 2 (Couples series-encaustica on paper)
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 Compositions.
Carrying out sketches, notes, drawings, exercises, analysis, has allowed me to be giving directionality to my work. □ I don’t present them as finished pieces but as samples to where I direct my search. □ In this case, structural and chromatic composition studies. (2006).
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De Zacatecas.
Before leaving Zacatecas in 2005, I wanted to carry out a painting that characterizes the special personality of this city. The exemplification results being a girl with a lovely beauty, but very proud. Irresistible but difficult. Just as I see her nowadays. The posture was exactly a proud cat posture imitation, on foot looking with reject and indifference, but with an harmonic rhythm in its composition. (2005).
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Web site designed by Karla Rojo, hosted by midphase.com |
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The
work in ceramics is a continuation of the work that I was making in
wood,
following the same speech line
but now facing the series to this new possibility of working with
ceramics. 
