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15
Hello Lorena and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
Thank you for having me. I cannot make a real distinction between the person and the artist. Everything that comes from my mind is totally influenced by everything I have ever seen, think or experienced, and all those experiences happened in specific places and time. So any artistic practise I could make has a lot to do with me as a human being, with my past and cultural background. For many reasons I am interested in playing with visual perceptions and construct fictions or alternative worlds with the purpose of finding humour and poetry through inanimate elements and somehow humanize them. This is something I did not realize before, but I cannot get rid of it anymore. I am learning to see these connections. However, I do not think I am showing myself through my work. It is just something that my closest relatives, friends or me may feel in a very subtle way.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
I do not know how everything started. I was a baby drawing on the floor, a child who had been given a small camera, a girl who liked to write and read. Besides, I was an only child that had to play alone most of the time and enjoyed creating alternative worlds. It was kind of obvious that I would study a bachelor in Arts and after that a degree in Audio-Visual Communications. However, at that point I felt that something was missing and my creative side was not completely released. Then, I decided to study a Master in Contemporary Photography at EFTI International School (Madrid) where I finally started to find my own identity. I owe a lot to teachers and colleagues that have helped me through this process. What I have been doing all my life is seeking the way to translate my ideas into something ‘physical’ and now I am finding a way.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
I probably cannot name any artwork I admire that has not influenced my artistic practice in some way. It is curious that as more as you learn from other artists (the more influenced you are) you kind of get closer to your personal identity. It is like making a recipe. You choose ingredients you like that already exist, you start learning how to combine them and finally you may be able to add an unexpected touch. However, there is no secret ingredient. I assume that. Furthermore, my work is not only influenced by photographers in all kinds of fields but also by filmmakers, writers, painters, thinkers… I am sorry I cannot be specific, but I can try to make a list of people I admire: Duane Michals, Chema Madoz, Sophie Calle, Umberto Eco, René Magritte, Francesca Woodman, David Lynch, Andy Goldsworthy, Ana Mendieta, Stanley Kubrick, William S. Burroughs, Arthur Tress, Joan Brossa, Diane Arbus, Roy Andersson, Knut Hamsun, Joel Sternfeld, Helena Almeida, Joseph Kosuth, Klaus Pichler…and a long Et cetera.
What is the role of memory in your art process? We are particularly interested if you try to achieve any kind of translation of your experiences of living in many places with such different cultural and social environment.
Indeed, I can consider my artworks as translations from ideas or experiences that are not always real but also hypothetical. In my work published in this magazine, ‘La invasión de las personas quietas’ (‘The invasion of the quiet people’), I imagine a world where people have been so quiet that have finally become objects and they can decide what to do or where to be. I probably try to show a world to anyone that may be interested in another possibilities and this is something does not understand about borders or cultures. We can feel a human intention even if it comes from a place that we have never seen.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
On a general basis I do not follow any specific rules about technique, but I do establish a visual model for every project in particular. As my work is mostly based on repetition, I try to ‘treat’ each photography of the series in the same way. Besides, I love handcrafted work; I prefer to do some interventions in-site before taking a picture rather than doing it on post-production. However, it does not mean that I refuse those practices at all, is only what I usually do, with what I enjoy more at this moment. I love working with objects and interact with them. I feel loyal to myself with what I do right now, but who knows what I will be doing in a few years…I prefer to think about keeping growing and experimenting rather than add restrictions to my work.