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The second part of the journey would be to think how to give shape to this idea so that it was not confused with what it had made before, in order to differentiate that inspiration from previous inspirations. It took me a whole year to shape that idea. And it was not a steady progress step by step, it was actually a zigzag road, doing tests to discard them and think that in fact it was better to do something else and sometime later it was resumed with another test for finally, and very slowly, discover things that interested me and served for this project.

In the plot there are no bones of any kind, the title is a way of calling a civilization with ancestral roots.

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It is a fictional story situated in the contemporary world and with the addition of fantastic elements, where the ancestral returns again and again and transform the present. That connection with the past is what I wanted to express, a past that is not dead but continues to act because it exists within us, like it or not, like bones. When a certain tribal reminiscence began to surface, I decided that this was the way, I wanted to achieve abstract forms that refer to primitive languages, whose value would not reside in the material but in what speaks to us.

Nombre para mostrar. Sitio web opcional :. El hechizo se conjura al rozar los dijes con la yema de los dedos mientras recitamos las palabras correctas. Today I am happy to introduce a new series of one of a kind hand-crafted necklaces in pigmented porcelain and cotton thread tinted with natural dyes. The first pieces are available at Patron Concept Store. Tribal jewels A connection with the past, a porous border between the ages. The ancestral time and the psychedelic days linked by a common thread, knots and loose ends.

Tribal jewels invoking unknown languages, beads that resemble bones of mythological beings threaded on cords tinted with the sap of strange plants. The spell is conjured by touching the charms with the fingertips while reciting the right words. Transformations I started to create jewellery almost unintentionally, or rather inadvertently because I had already received proposals to collaborate with Argentine jewellery artists but I had always declined them because I felt that I was unable to model pieces of porcelain in such tiny sizes. In fact, I had decided that I would never make jewellery.

But it seems that my decision had not been as firm as I thought and it ended up becoming a possible path when the factors space and time conspired to transform my work routine. I discovered that to model small pieces I did not need a workshop but just a table and two or three simple tools. I could also work at any time of the day taking advantage of gaps in between different activities. The choice of colours Since I entered into the world of artistic jewellery I only used porcelain and cotton cord, two materials that in this context are perceived as simple and rustic but to me, they are very attractive, mainly for the sensation that they produce to the touch.

I dedicated to exploring the form, the combinations and the contrasts of texture maintaining the monochrome, a challenge that I imposed myself and enjoyed knowing that it was a good way to emphasize a quality that historically distinguishes both: whiteness. Thus arose my first pendants that were transformed into necklaces and that little by little were coming into contact with the public in design stores and museums. Onirial was my first and only collection of porcelain jewellery since before I had only made limited series. It took me over a year to find a new aesthetic on which to work and a palette to develop.

A whole year of trial and error, insecurities and certainties. At the end, I could see that if I wanted to differentiate my new pieces from the previous ones I had to change something that was notorious at first sight but at the same time keep some features that referred to my previous work. So I decided to change colour. And at this point, I saw two possibilities: choose a palette and investigate how to apply it to the materials or see what colours could be obtained with the addition of dyes and oxides and figure out a colour scheme with them.

I decided on the second option which I found more intuitive and random. Thus I achieved blue, brown, spotty grey and pink clay mixing indefinite amounts of oxides and pigments in porcelain paste. Later I dyed strings in different shades of beige and bright yellow with vegetable scratches. Other shapes The shapes of the charms were inspired by a visit to the museum of natural sciences. Standing in front of the lustrous and petrified bones of the dinosaurs I marvelled at those structures that look like cathedrals built of such a small and varied components.

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And the beasts themselves enjoy a certain mythological halo since its appearance is not known with certainty and the constant scientific discoveries only reinforce this idea granting them scaly skins to later remove them and give them feathers and naming them predecessors of the birds. Inspired by the vertebral column and skeletons, I modelled articulated beads to which I added perforations to give them lightness and a certain decorative touch that distanced them from the merely descriptive.

Another detail I worked on in this new series is the frayed thread. I like to work on finding a way to hide the joint of the rope but now I wanted to show something that suggested fluency and looseness and why not some uncertainty, if thinking of them as loose ends. At this point, I would like to mention the novel The Bone People by Keri Hulme as a subtle influence on the materialization of these jewellery pieces.

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I feel that I discovered a new aesthetic that brings together elements related to nature and literature that allows me to create objects that fully reflect their qualities when they come into contact with their ideal support: the human body. Getting ready to work in the company of a cat that sometimes walks on my drawings and paintings Natural dyes are those obtained from plants and minerals and were used from the origin of humanity to dye textiles. In the year , the first tints obtain from mineral salts and insoluble oxides were developed and the industry of dyeing and stamping of fabrics entered its development phase.

In the second half of the nineteenth century, the increasing mechanization of fabric manufacture in Europe required a bigger supply of inks which was becoming impossible to satisfy because of the demand for natural products to manufacture them was greater than the resources. And many of them, such as indigo and cochineal, came from Asia and America, generating great costs. In William Henry Perkins discovered the first synthetic dye that was popularly known as the Perkins violet, a mauve shade obtained from coal tar.

From then on the dye industry evolved rapidly into a new science.

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Pero lo cierto es que este modo de accionar no coincide con la forma en que yo hago las cosas. Y me decepcionaba y desalentaba el hecho de que los resultados nunca fueran lo que esperaba. Synthetic dyes represented a huge advance since they could be obtained in large quantities at a lower cost than the natural ones, they were fixed permanently producing bright colored fabrics that did not wash away and, paradoxically, they were considered less polluting since some of the mordants used as fixatives for natural dyes such as the salts of chromium, copper and tin ended up contaminating large amounts of water.

Today textiles not only represent a very important part of the industry it should be remembered that Gandhi began his peaceful revolution against the British Empire urging his followers to make their own fabrics for their clothes and thus boycotting the British in favour of the independence of India. But textiles also found their place in the world of art and today, this practice is nourished by all kinds of influences, from the recovery of ancestral techniques to the most modern methods of manipulation and innovative use of materials which are usually carried out in workshops perfectly equipped for such tasks.

An unexpected solution In my times as an art student, I had experimented with print on canvas techniques but without going too far into the subject. Years later I got the book Fabric Dyeing and Printing by Kate Wells , a very comprehensive text on the subject which I found quite difficult to address due to my almost no knowledge of the subject. I tried to do some experiments but the many materials I did not know and seemed necessary to face the process discouraged me. When a few years ago I began to notice a flourishing tendency to natural dyes it caused me some interest but I didn't find it all that appealing due to the apparent chromatic restriction.

My approach changed when I discovered the work of the American jeweller Erin Considine who combines pieces of metal with fibres treated with vegetal and mineral dyes of beautiful and bright colours. In any case, my conversion was not immediate since I remembered buying a beetroot-dyed wool beanie with a beautiful crimson colour that faded over time until it became a light beige shade. This disappointment didn't allow me to appreciate the beauty of the resulting colour nor the whole process of transformation.

In addition, I had done some experiments with anilines that definitely worked very well and gave the exact colour that was mentioned in the package. So why making the effort to obtain a dye from a raw material when I could actually buy it?

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But the truth is that this mode of action does not match the way I do things. When I was younger I used to struggle against the oil paint colours believing that was the way to put on a canvas what I had imagined and I was constantly disappointed and discouraged from the fact that the results were never what I expected. Over the years and without realizing it I changed the focus, and now I concentrate on the materials and tools I use and their possibilities, and from there I experiment to see where I can get.


Una vez secas, las guardaba en una bolsa de papel. Parallel to these questions I had begun to take the food scraps to the terrace every morning to compost as a way to reduce the waste I disposed on daily basis and began to become aware of the amount of organic matter that we discard as garbage and is not such a thing but rather the opposite because they are nutrients that, instead of returning to the soil, we send to a sanitary landfill where the mixture of moist and waste elements with poisonous components is compacted on the earth and ends with the years melting in a mass that, combined with the rains, drains contaminated liquids to the underground from where we extract the water that we call drinkable and this would be the short version that does not go to describe the magnitude of the environmental disaster that the rubbish dumps are as describe in Annie Leonard's Book and video seriesThe Story of Things.

It is not easy to change ingrained customs and less when one really does not know how to do it despite having the intentions. And so I was, with my desire to try doing some dyeing, my compost and my kitchen as the only place to work. It was at that time when I found on instagram a postcame on how to give a second life to old tea towels by dyeing them of a soft pink with peels of leftover avocado. And that was the point where everything came together.

The scraps were not discarded but reused, just like the avocado peels that provide a little more service before finishing their days nourishing the soil. From that moment I began to gather the skins of the avocados that I ate and to dry them in the sun, placing them next to the window of the kitchen. Once dry, I stored them in a paper bag and in less time than expected I had more material than I would need, as I discovered the day I decided to start boiling them and I noticed that from each skin I could extract a lot of dye which could be reused many times.

Solo me quedaba empezar. To start with what you have at hand So I started to experiment but not in a methodical way as from the beginning I decided that I did not feel like taking note of every detail because I was not looking for perfect textile pieces, nor did I want to get bold colours, not was even looking for a specific shade. The only thing I wanted was to achieve a variety of tints to dye the cotton thread which I use in my porcelain necklaces.

So I just had to start. First I washed and let dry the thread to get rid of the starch. Then I put avocado peels to boil and watched as they quickly gave off a dark purple hue, to which I added a pinch of salt. When placing the cord in the concoction I noticed how it got a pink tone that intensified the longer it remained in the boil. After a while, without timing and only paying attention to the shades of pink developing, I removed the cord and place it in a mix of vinegar and water the first time it was industrial vinegar but now I use homemade vinegar made with leftover pieces of apples.

Finally, I washed it with cold water.


I was a bit disappointed when the next day I noticed that the pink had lost intensity. But that did not discourage me and I continued to try with other things like onion peel from which I got a very beautiful ocher tone and red cabbage that did not work at all despite the display of blue and purple hues in the boiling water that eventually faded.

Sometimes when I'm curious I look for information on google or youtube and in general, the only thing I manage to get clean is just the name of something new that I would like to boil turmeric, walnut shells, purple onion skin, etc. And since I don't enjoy to sit down to research on the internet, I decided to apply logic and emulate the exercise that an art history teacher used to propose when he talked about rock art: he asked us to imagine where from pigments could be obtained to prepare the paints used in caves such as Lascaux that after so many thousands of years continue to fascinate artists and scientists with their intense and brilliant colours.

And my answers arrived in a rather easy and mundane way, remembering the stains that some fruits and vegetables leave in the clothes and that are extra difficult to remove: the yellow of the orange juice, the pink of the strawberry, the violet of the cherry, the blue-grey of blueberry. Now that the summer is approaching, I imagine it will be time to confirm if so much effort to remove those colours will be compensated with the happiness of seeing them be worn on the strings of my necklaces.

I invite those who are experimenting with natural dyes to take advantage of the space of comments in this post to share their experiences, discoveries and opinions. It's always interesting to see the way other people perceive my work and in this particular case, it's also very stimulating as the colour choice put it in a whole new context. My porcelain necklaces are available at Patron Concept Store.

Although I'm not used to being interviewed and I feel a bit uncomfortable when talking about certain aspects of my life I must confess that the difficult becomes easy when the person asking is someone as warm as Victoria Fernandez from Puente Estudio. We do not know each other in person but we have been in contact for some years and clearly, we have many things in common.

I was very flattered when she asked me to be her interviewee for the Mujeres Creativas section of her blog and despite the nerves, I tried to elaborate answers that would tell a little about me and my work. I really liked the way she shaped the interview and after it was published I contacted her to thank her and to tell her that I really appreciate the way in which, through her observations, a series of questions were transformed into a beautiful conversation.

I told her that I had been especially interested in the passage where she said that it is a little paradoxical that I should define myself as a tidy person but also very dispersed. Minutes later I receive her reply email telling me that she was also a person who enjoys the order and told me that she found our written conversation quite funny as she had just finished reading an article on the subject highlighting the virtues of the disorder. Over the years I slowly moved into the "tidy people club" for several reasons: my house is not very large and I prefer to take full advantage of it, I do not live alone and I must share my space with others and the hours of the day are not enough for me for what I prefer to take profit instead of wasting them looking always for the same things constantly.

But I also discovered that something clicks in my head in my when the things around me are well organized. Unfortunately, this characteristic has a bad press in the art field since the image of the artist is associated with the famous idea of creative chaos and sometimes while in my working place with everything tidy around me, I feel like an impostor. Pero siento que es el precio que hay que pagar para poder cumplir con los objetivos propios. What I discovered in the order When one works alone it is important to pay attention to all the details and having the work ready in time and form is not a minor one.

It took me many years to get organized in all aspects of my practice and I think there are still many things that I could improve. I agree with the idea that order distances us from creativity because it impels that once established a certain way of doing things we tend to repeat them in that way always leaving no room for the variety and chaos that involves seeking new solutions and try different alternatives, that implies risking to make mistakes but also to discover something interesting.

But I feel that it is the price that must be paid in order to accomplish one's own objectives. La belleza del desorden El caos es el comienzo de todo y el origen del universo. En el caos existen todas las posibilidades. El caos favorece los descubrimientos fortuitos. Pero para que del caos surjan los frutos siempre es preciso establecer un cierto orden. Yo creo en el orden, pero en el que resulta de las elecciones propias, no en el orden impuesto por otros. Por eso considero que si uno desea crear obra, establecer un orden propio es una forma de dar el primer paso para empezar a recorrer un largo camino.

The beauty of disorder Chaos is the beginning of everything and the origin of the universe. Chaos challenges our imagination and intelligence by testing our ability to understand. In the chaos, there are all possibilities. Chaos favours fortuitous discoveries. But for the chaos to turn into something intelligible we need to establish a certain order.

The British painter Francis Bacon is the great referent of the genial and chaotic artist, a myth supported by the images of his workshop at 7 Reece Mews street strewn with piles of trash composed of rags, papers, brushes and old oil tubes that grew along with his art. What interests me especially in this anecdote is the fact that in his atelier the chaos was apparent and was only in the eye of the observer because for Bacon there was an order, his own order, as he knew exactly where everything was. I believe in order, but in the one that results from our own choices and will of being organized.

That is why I consider that if you want to build a body of work, establishing your own order is a way to take the first step to start a long journey. That said I invite you to read the interview with Victoria, almost a week after its publication For almost ten years, my drawings have been almost exclusively about plants and flowers.

Sometimes I feel that there are many explanations for this my family inheritance of a trade, having lived my childhood in a house with a garden, the taste for perfumes, etc. And this was my favorite answer until very recently, when I heard brazilian chef Alex Atala explain what the flower represents to him:. Una planta tiene un ciclo. Una semilla se transforma en planta que da flores y se transforman en frutos. Hay otra semilla y la semilla crece otra vez.

Y yo digo: ya veo, ahora entiendo. One night I had a dream, I was walking in the street like a kid who has the hands of the father and mather.

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And I was asking to this bigger person what was the meaning of life. And he showed me circles, circles of life. And then he showed me a flower. A plant has a circle. A seed becomes a plant that has a flower, transforms into a fruit. The fruit drops. There's another seed, and the seed grows again. This is a circle. And I said: I see, I understand. But why did you showed me the flower? And he said: "The flower is the moment that we live, the most beautiful moment of the circle. The most beautiful moment. Contemplate this. Sus naturalezas muertas con frutas y flores son de una belleza exquisita y de una gran delicadeza y riqueza de color.

As a way of exercising my hand and keeping it in line ;- I decided to do an exercise and draw with graphite flowers taken from the works of Giovanna Garzoni, an Italian painter from the Baroque period, who developed her work with great mastery in an era where the arts were men's things. Her still life paintings with fruits and flowers are display an exquisite beauty and great delicacy and richness of colour. My exercise consisted in choosing flowers from her works and representing them in groups or isolated but always surrounded by a white space as a replacement for the descriptive backgrounds.

I heard the story told by Alex Atala after having made the first drawings of the series and nevertheless it arrived at the exact moment when I could not find the words to give a context to these new series. The detailed work of the flowers that I chose to reinterpret symbolizes the complex of life paths with its twists and turns and the white space around it is what we can not see but may exist, what sustains and envelops us, that something bigger and powerful of which we are part of.

Jaime Pena. Cristina Aparicio. Carlos F. Y es que la cineasta construye todo el relato en un desgarrador plano-secuencia que parte de la rutina diaria en la vida de una adolescente para terminar en la fractura emocional en la que se ven sumidos sus padres. Hay que quererse mucho para perpetrar semejante impudicia… Carlos F. Resulta imposible estimar y especificar el instrumento para su medida el valor de una vida humana.

Meng halla la forma de mantenerse a corta distancia pero dejando el suficiente espacio para que la trama respire. Arrepentido, Miguel la visita en el hospital, solo para comprobar que Elena ha perdido la memoria y que no parece tener ni parientes ni amigos cercanos. La amnesia es un marco demasiado tentador y el simulacro adquiere proporciones cada vez mayores. Pero el marido se presenta inesperadamente, primero ante su hija. Uruguay, Un fascinante poema visual. Una chica que trabaja en un observatorio en la Tierra del Fuego recibe a su novia, con la que decide emprender un viaje a casa de su madre.

En definitiva, una gran historia de amor de sutiles proporciones que respira libre y sin cortes, en un largo y durarero plano. Una preciosa sentencia ilustrada con el mejor de los ejemplos. Bienvenidos sean.