Heart Containers
Almost all ancient cultures buried the heart in a ceramic vessel, separated from the body. It was thought that the heart contained the soul of the dead and needed a separate container.
In contemporaneity, I ask myself: Where would we guard our hearts? And what do we guard in them?
Hearts have different sizes, different rhythms, different compartments. It’s a container for love, for sadness, for forgiveness, for anger. You can put many things inside, things that only you know, things that only you feel.
But... What contains the heart? Or, what does the heart contain?
Virgin of the Mystical Rose
Ceramic sculpture (low temperature clay and crackled glaze), molded by hand, assembled like an ancient doll. Its name, The Mystical Rose, comes from the symbol that is placed on top of the Montichiari Cathedral, erected in the place where the Virgin Mary is said to have been seen. The crackled texture symbolizes the marks of the suffering and pain of the Virgin Mary as a mother, and the pins are the flames of light and faith that help us accept and bear our own scars.
Su nombre, La Rosa Mística, proviene del signo que es colocó en lo alto de al Catedral de Montichiari, erigida en el lugar donde aseguran se hizo presente al Virgen María.
Las marcas de craquelado significan las marcas del sufrimiento y dolor de la Virgen María como madre, y los pines esas llamas de luz y de fé que nos levan aceptar y sobrellevar nuestras propias cicatrices.
Egyptian Paste
Egyptian Paste is a technique that was somewhat lost in history and is only studied and returned to recently. The name was given by modern archaeologists due to its similarity to European majolica or faience, although it is not the same type of technique, Egyptian paste is a glass and majolica is a technique based on the use of tin and lead enamels. The material that the ancient Egyptians called “The Brilliant” (tjehenet), is actually a glass with a subsequent vitrification on top, or an enamel due to the emergence of soluble salts to the surface, which the artisans in the Predynastic Period of Egypt, They already used it to make soapstone pearls (beads), trying to imitate precious stones such as turquoise or jade, which is why the most used colors in Egyptian paste are green and blue in all their ranges. The name in English, “Egyptian faience”, allows us to differentiate from the finer and glazed pottery, made in medieval times, the European “faience” (now more correctly called majolica). In the most recent works this vitreous paste is divided into two main groups, the Egyptian blue in which the main crystalline phase is a calcium and copper tetrasilicate and the second group the turquoise similar to wollastonite being a calcium silicate.
Naos
A personal space for a personal search. Created to enter in interior contemplation, of connection with creation. A piece of heaven on earth, a possible terrestrial image of the heavenly abode. With its labyrinthine and dense structure, it constitutes an orderly microcosm; with the egg, the ovule, the cocoon, as a symbol of the earthly life contained inside us.
Nests
Each one weaves its nest with the threads of its history.
Threads with which we weave in a transparent way allowing us to see through what we have done, what we have wanted and said.
A material record with a personal form with uncertain but sustaining armor.
A continuous, endless suspense, which makes us think of false eternities.
Networks of diffuse and condescending beings, of present and false beings, that disappear, that release when you tighten and tighten when you loosen.
There are threads as strong as eternal nests.
There are transparent threads that bind us from afar, that hold us groping and break us to stones. There are threads that become chains and cavernous nests.
But there are threads of light and certainty There are threads that give peace because they tie knots of strength.
There are threads stronger than bliss AND stronger than absence.
Without these threads, my God, who could make his nest?
Mosaic Murals
Large-scale ceramic mosaic mural created at Bosque da Ciência park managed by INPA foundation in Manaus, Brazil. Created using Trencadis technique, the installation helps both decorate and protect the outer walls of the large water tanks housing the manatees.
Large-scale outdoor mural project, installed in September 2017 for the Ionaian Center for the Arts and Culture on the island of Kefalonia, Greece.
Mural-sized ceramic mosaic installation in Jodhpur, India, August 2018
Mosaic mural "Sofia's tree", 50 m2, "trencadis" technique. Albero 14 building, Guatemala.
Large scale mosaic mural “Sofia’s Tree”, 50 sq.m, “trencadis” technique. Installed at Albero 14 apartment building courtyard, Guatemala City.
Biblioteca Zona 1 Guatemala
Penetration
Not everything that penetrates leaves a mark.
Not everything that leaves a mark, penetrates.
Our Footprints
Who do we follow? Who follows us?
Your footprints will stay, it's your energy what will lead and your body that will leave.
See video
Tomb
Passing to the other side / bones for the body work like stones for the world / they are the hard part, the shape, the support.
They are formed by the same minerals / and they end up becoming the same dust.
We come from the dust and to the dust we go.
See video
Silence
The heavy weight of silence
the presence or absence of silence, same tragedy, same consequence.
Path
"If we only knew / how simple it is / to live our lives so peacefully.
This stony path/ would be as smooth / as running water / through our feet."
Red Tide
Blow, Flow, Grow. Only sinking into our life-changing signs will we be able to start again from the beginning. Installation / video.
See video
Muñecas / Dolls
8 cultures, 8 races, 8 stories, 8 women, 8 dolls made in paper clay and Raku. They all speak of women's fragility and strength. Assembled by their joints as antique dolls, all naked, showing how we are all equals. Bodies that we cover with costumes to give us identity and belonging; costumes that make us forget who we are and why we exist. Their only symbols of belonging are in their hair and feet. Each one has a poem describing her life, with features and experiences that inevitably both differentiate and unite them.
Marionnettes
Pieces created for a performance at the Institut International de la Marionnette, Charleville-Mézières, France. Based on "Muñecas" series.
See video
Embouteillage
The passage of time does not forgive; everything changes, transforms, wears out and evolves. Installation / video. Raw clay, red wine, copper.
See video
Utensils
Mending the rifts between times, cultures and people, referenced by ancient Mayan traditional utensils, still in use today, yet quickly disappearing, replaced by plastic.
e-motions
Based on Masura Emoto’s theory on the influence of emotions over water. We are 70% water, the world is 70% water. Installation / video.
Our Hanging Life
Our hanging life, strains attached, and the flowing energy between our travel, our feelings, our dreams...
Battle Horses
For the battle we get armed, equipped, prepared.
In the old days we used armours formed by pieces of resistant materials to protect our selves. Nowadays, we get armed with courage, prudence, patience, truth and lies, knowledge, ignorance, sanity or madness, we arm ourselves with those small pieces of strong materials to protect our souls.
A.gua
Hanging vessels representing our travels through life, and the ceramic Figureheads in front, as in ancient vessels, as the masks we put on to defend our souls from the monsters of life.
A.las
Our animal instincts represented in felines and birds. Survival, adaptation and reproduction, liberated and transformed, adapted and controlled by our very souls, as transparent wings.
A.pelo
The importance of the hair in our lives, how they mark its stages, how we use them and change them when our self-desires.
Hair or no hair, at least one we all have, they grow without knowledge, they fall where required. Monks remove their hair to remove their EGO, we use them or condemn them, but at last they grow without pardon, without control, from their matrix, from their roots…
Gargolas
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