My parents were journalists who specialized in Peruvian history and popular culture. They instilled in me love for my heritage and an early understanding of how history works. Since I began working with clay my principal interest has been to portray our cultural dichotomy: Western culture and Non-western heritage that exist as a nemesis in our own skins. A historical document that speaks of what we were and what we have become. It all began when I made my first ceramic series We, the Colonized Ones in 1992, at that time the world was celebrating Columbus’s enterprise to the Americas. His alleged benefits such as bringing language and religion, and our insertion to its history were highlighted; as if there were no language or beliefs already in these lands, and as if thousands of years of cultural evolutions didn’t add to anything beyond ”barbarism”.
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The act of drawing is a performance
2004 – 05
Each piece in this body of work sports my daughter’s features when she was 6. I got pregnant at 48 and gave birth a child we named Vida (Life). She has added to my life experience and fed my work in ways I never expected…
1997 – 2002
I feel my body populated by memories, impressions, beliefs, fears and desires. They are imprinted deeply, almost etched. They follow me, tormenting me, or sweetening my path.
At this stage of my life I wanted to summon their presence, thank them for being, and make peace with each of them. But I didn’t know how, until I saw a photograph of a Mexican statue from the Rockefeller Collection at the Metropolitan Museum in New York.