Trade, research and change
In my work as a plastic and silversmith artist I find myself in the complex border that exists between art and trade / art and design, / art and crafts and I love the risk of being in that position.
In creative development, I investigate the creative potential of silver. I am interested in questioning the value of jewelery, wealth, prestige and power that the material represents. I like to lower it from its pedestal, and somehow make it affordable and above all, everyday. I am looking for a conversation between form and function, a tension between use and aesthetics of a given artifact, between scale and materials. I examine the dichotomy between the characteristic stiffness of the material and the malleability of the sinuous lines of the designs. I question the very nature of the material and try to give it characteristics that it does not have and achieve the opposite of its condition. I observe the abstraction, the movement, the forms, the irregularity, the economy in the ornaments, the opaque, the textures and the contrasts. I believe in objects built with moderation, austerity, sobriety and with the transgression of rules regarding forms, techniques and finishes. I look at our culture, our heritage and our nature in a particular way. I observe which are the forms, the symbolic, iconographic and visual universe of our ancestors, who manipulated matter to give it a ritual, expressive, emotional and conceptual language, sacrificing its functionality in pre-Columbian times. In the same way, I study liturgical objects of worship, rich in sumptuary ornaments in Colonia and Nueva Granada.