33 Degrees South: Contemporary art from Chile

A new event is to take place in London, celerating contempory artists from Chile.  If you're in London or planning to go around this time, it promises to be a fascinating exhibition.

Curated by Cecilia Brunson
Group Show
9 October – 9 November 2012
Private View: Tuesday 9 October 2012, 18:00 - 21:00

As the international art world is increasingly looking to South America for inspiration, 33 Degrees South: Contemporary Art from Chile brings together the work of six upcoming Chilean artists to a UK audience. Working in the mode of what has been called “Poetic Conceptualism”, these artists provide a new perspectives within the global conceptual narrative, using personal reverie, classical culture and the earth as their source material. This exhibition presents an in-depth selection of the work by each of these artists.
This is a new generation who began emerging out of the fabric of the new Chilean democracy in the late 90s. They ground themselves in the materials of the everyday but use them to engage the spectator in a fantastical, obsessive, abstract dialogue with the universe around them. Despite the monumentality that characterizes some of the works, there is an undeniable modesty in their composition.
Every day materials are transformed into unexpected and magnificent effects: Elastic bands are transformed into towering monoliths; multicoloured pipe cleaners echo swathes of brushstrokes; elsewhere virtuoso canvases skew the senses in a trompe l’oeil mimicry of Persian carpets for a domestic environment. Fallen wood finds renewed function, and ornamental porcelain melt and drip into the newly acquired context of ‘the gallery’. Finally, the very walls of the space are transformed into a neo-classical two-come-three dimensional architectural game of perception.

Exhibition and gallery information:
33 Degrees South: Contemporary Art from Chile
Dates: 9 October – 9 November 2012
Private View: Tuesday 9 October 2012, 18:00 - 21:00
Curated by Cecilia Brunson
Address: 77 Leonard Street, London, EC2A 4QS
Nearest tube: Old Street
Phone number: +44 (0)20 7729 7797
Website: www.ebandflowgallery.com
Opening Times: Tuesday to Friday 11- 6pm, Saturday 1-5pm and Monday by appointment only
Free admission

Meet the artists

Catalina Bauer was born in Buenos Aires in 1976 and was raised in Chile. She graduated with a Master of Arts from the University of Chile. She lives and works in Santiago where she has exhibited regularly since 1999. She has lived in the UK as an artist resident at Gasworks, London. Most recent exhibitions include Tectonic Shift: Contemporary Art from Chile, Saatchi Gallery and Phillips de Pury, London (2011); Moscow Biennale (2011); Contaminaciones Contemporáneas, Museum of Contemporary Art in São Paulo (2010); Casa de America in Madrid (2010); Albores, Museum of Anthropology of Xalapa, México (2007).

Josefina Guilisasti was born in Santiago in 1963. Guilisasti holds a Master’s Degree in Fine Arts from the Universidad de Chile. Most recent exhibitions include Tectonic Shift: Contemporary Art from Chile, Saatchi Gallery and Phillips de Pury, London; Marfa–Puerto Viejo, Blanton Museum of Art, Austin, Texas. Southern Exposure, Dumbo Arts Center, New York, USA; Itinerancia, Mercosur Biennial, Porto Alegre, Brazil; Fragmento II, Cisneros Fontanals Art Foundation, Miami, Florida, USA. Fragmento I, Bienal de Pontevedra, Galicia, Spain; Marking Time: Contemporary Art from Chile, Blanton Museum of Art, Austin, Texas. Her work is found in numerous private and public collections such as Patricia Phelps de Cisneros and Blanton Museum of Art, Austin, Texas within others. Josefina Guilisasti has been nominated by Modern Painters (2011) as one of the five next stars coming out of Latin America.

Livia Marin was born in Santiago in 1973 in Chile; she lives and works in London. Trained as a sculptor, Marin earned her MFA from Universidad de Chile and a MPhill/PhD in Arts at Goldsmith College, University of London. Most recent exhibitions include Objet Dada, Edel Assanti Project Space, London; Contemporary Eye: Crossovers, Pallant House Gallery, Chichester; Tectonic Shift: Contemporary Art from Chile, Saatchi Gallery and Phillips de Pury, London; Broken Things, House of Propellers, London; El lugar de lo invisible, Sala Gasco, Santiago, Chile; Manuf®actured: The Conspicuous Transformation of Everyday Objects, Museum of Contemporary Craft, Portland, Oregon, USA (2008); Poetics of the Handmade, The Museum of Contemporary Art (MOCA), Los Angeles, USA, Maximinimalist, Institute of Visual Arts (Inova), Milwaukee, USA (2007); Multiplication. Museum of Contemporary Art, Santiago, Chile (2006); IV Mercosur Biennial, Porto Alegre, Brazil, (2003). Marin was nominated on six occasions to the National Fund for the Arts and Culture (FONDART), Government of Chile.

Gerardo Pulido was born in Santiago in 1975. Pulido holds a Ph.D in Art Education, from the University of Seville, Spain, a Master’s and a Bachelor of Arts Degrees from the Catholic University of Chile. Among his main exhibitions are Tectonic Shift: Contemporary Art from Chile, Saatchi Gallery and Philips de Pury, Londres (2010); Flujo. Obras de Gerardo Pulido y Tomás Rivas, MAVI, Santiago (2009); Sur Scène, Castillo de Tours, Tours (2007); Políticas de la Diferencia: Arte Iberoamericano de Fin de Siglo, MALBA, Buenos Aires (2001). He has also received numerous scholarships and awards such as the AMA (Chile, 2008); National Funds for the Arts and Culture (Fondart) Government of Chile (2006); Scholarship MAE, AECI (Spain, 2005-2003). He has published several essays on art and is the Co-editor of Index, Paper Art and Criticism (2001-1997, Chile). Pulido teaches at the Universidad Católica and Universidad Diego Portales.

Tomás Rivas was born in Santiago in 1975. Rivas holds a Master’s Degree in Fine Arts (MFA) from the University of Notre Dame, IN, United States and a Bachelor of Arts from the Pontifical Catholic University of Chile. His work has been exhibited throughout Argentina, Germany, Brazil, Chile, United States, France, England, and Israel. Among his main exhibits we find Tectonic Shift: Contemporary Art from Chile, Saatchi Gallery and Philips de Pury, London (2011); Contaminaciones Contemporáneas, Museum of Contemporary Art in São Paulo (2010); Chili, l’envers du décor , Espace Culturel Louis Vuitton, Paris (2010); Slash, Paper under the knife, Museum of Art and Design, New York (2009); Boyscraft, (Haifa Museum of Art), Haifa (2008); Abre Alas, Galería A Gentil Carioca, Rio de Janeiro (2007); Since 2003, he has received awards and scholarships including the AMA Scholarship, (2008), the Scope Emerging Artist Grant (Emerging Artist Award) Foundation Scope New York (2006). Rivas is currently living in Chicago.

Malu Stewart was born in Santiago in 1962. After graduating from Universidad Católica de Chile, Stewart was bestowed a scholarship by the Chilean government and the British Council to complete a post graduate degree at The Slade School of Fine Art (1992–1995). In London, Stewart was nominated for the Cyril Sweett Award in the Summer shows of 1995 at the Slade, granted by The Worshipful Company of Painter–Stainers. Selected exhibitions include her recent solo show Green Fingers at Sala Gasco, Santiago, Chile (2012); A Long Summer, House of Propellers, London (2011) Tectonic Shift: Contemporary Art from Chile, Saatchi Gallery and Philips de Pury, London (2011). Her work can be found in numerous private and public art collections in Chile and abroad such that include The Blanton Museum of Art, Austin, Texas and ABN AMRO Bank, Sao Paulo, Visual Arts Museum, MAVI, Santiago, Chile; within others.

Cecilia Brunson is an independent curator based in London. For more than a decade she has worked in New York and Latin America. Her career began in 1991 in New York at the age of nineteen. For ten years she built a collection of Latin American art with the Edwards publishing family. In 2001 after graduating from the Centre for Curatorial Studies at Bard College, she was appointed Coordinator of Exhibitions at The Americas Society in New York. This was followed by an invitation to be Associate Curator of Latin American Art at The Blanton Museum of Art in Austin, Texas. Because of her interest in supporting emerging artists
and bringing to light the work of up-and-coming curators she founded INCUBO in Chile. This was a residency program for international curators to innovate and experiment with different formats for exhibitions, lectures and publications. She recently directs the AMA Fellowship, a grant that facilitates residencies abroad for Chilean artists. In 2010 she curated a series of solo-exhibitions by Chilean artists at House of Propellers, London.

Tell us a bit about yourself Eduardo. Did you study photography/film formally?

My name is Eduardo Moreno, and I’m 23 years old. I couldn’t consider myself a photographer, because I don’t think I have a solid body of work yet, or a clear social discourse (which are essential features that I look for in photography). Moreover I am always keen to keep trying new media and techniques, that take me a little outside photography. But for formal purposes, yes, we could say I'm a photographer [laughs]. I studied advertising photography for two years, which became my "title" [degree]. Nowadays I’m studying, and it’s my first year in advertising, and I keep working in parallel in photography as much as I can. My work is largely editorial portrait photography, and lately I’ve done photo stills in movies, material that I can’t show until the movies have been released.

Mi nombre es Eduardo Moreno, tengo 23 años. No podría considerarme un fotógrafo, ya que no creo tener un trabajo lo suficientemente sólido, o con un discurso social claro (que son características esenciales que busco en la fotografía). Por otra parte me gusta estar siempre probando nuevos medios y técnicas, que me sacan un poco de la fotografía. Pero para efectos formales, sí, podríamos decir que soy un fotógrafo jaja. Estudié 2 años fotografía publicitaria, lo que pasó a ser mi “título”. Actualmente estoy en primer de año de publicidad, y en paralelo sigo trabajando en fotografía lo más que puedo. Mi trabajo es en gran parte retrato editorial, y últimamente he hecho foto fija en cine, material que no puedo mostrar hasta sus respectivos estrenos en salas.

How long have you been involved in photography, how did you discover your passion?

After finishing school in 2006, I went to law school in Antofagasta [city in Northern Chile]. It was there that, to distract myself from so much reading and studying, I decided to buy a camera and practice photography as a hobby. After six months of dedication, I finally decided to leave everything, my career, my family, and my friends to come here to Santiago to live this dream. It’s been 5 years since then, and it has been the riskiest decision I ever made, but it has brought me the greatest satisfaction and opportunities to really get to know myself.

Al salir del colegio en 2006, entré a estudiar derecho en la ciudad de Antofagasta. Ahí para distraerme un poco de tanta lectura, decidí comprar una cámara y practicar la fotografía como un pasatiempo. Bastaron 6 meses dedicados a esto, para que decidiera dejar todo, mi carrera, mi familia, y mis amigos para venirme a Santiago a vivir de éste sueño. Ya van 5 años de eso, y ha sido la decisión más riesgosa que he tomado, pero es la que me ha traído las más grandes satisfacciones y oportunidades de conocerme a fondo.

What is your approach / philosophy to photography today?

Every time someone tells me a story I find it difficult to remember every detail, because I imagine how that would be told in pictures, and I only remember those moments. I can’t look at someone and not think about shooting a portrait, or how they would look with some light. When I imagine or explain something, the frame is in my mind, the direction of the light, the rhythm, the position of the elements, characters, etc. Photography became my way of seeing the world. I'm always thinking about developing a theme, this has become a problem though because I find it difficult to make a decision and stick with it.  What I want is to reach a balance between what interests me and what people want to see. In the meantime, I remain undecided.

Cada vez que alguien me cuenta una historia me es difícil recordar cada detalle, porque me imagino como eso se vería narrado en fotos, y recuerdo sólo esos momentos. Es inevitable mirar a alguien y no pensar en hacerle un retrato, o en cómo se vería con cierta luz. Cuando me imagino o explico algo, en mi mente está el plano, la dirección de la luz, el ritmo, la posición de los elementos, los personajes, etc. La fotografía pasó a ser mi forma de ver el mundo. Estoy siempre preocupado por un tema a desarrollar, esto se ha convertido en un problema, ya que me cuesta mucho decidir por algo y apostar a eso. Quiero llegar a un equilibrio entre lo que a mí me llama la atención, y lo que la gente quiere ver. En esto, me estoy quedando en hacer nada.

Who do you admire professionally (Chile / world)?

In terms of aesthetics there are many photographers I admire, for example: Peter Lindbergh, Annie Leibovitz, Jean Baptiste Mondino, Helmut Newton, Eugenio Recuenco, Richard Avedon and Mário Daloia, whom I had the opportunity to assist in Santiago, he is an example to follow visually and professionally. Also friends like Juan Troncoso, or Mauricio Zarricueta. I can’t leave out the many Chilean photographers with inspiring work like: Jon Jacobsen, Noli & Provoste, Simon Pais, Matías Troncoso, Alvaro Puentes, Rocio Aguirre, Nacho Rojas, Gabriel Schkolnick, and many others.

Estéticamente hay muchos fotógrafos que admiro, como por ej: Peter Lindbergh, Annie Leibovitz, Jean Baptiste Mondino, Helmut Newton, Eugenio Recuenco, Richard Avedon y Mário Daloia, a quien tuve la oportunidad de asistir en Santiago, él es un ejemplo a seguir visual y profesionalmente. También amigos, como Juan Troncoso, o Mauricio Zarricueta. No puedo dejar de mencionar a muchos fotógrafos chilenos con un trabajo inspirador; Jon Jacobsen, Noli & Provoste, Simon Pais, Matías Troncoso, Alvaro Puentes, Rocio Aguirre, Nacho Rojas, Gabriel Schkolnick, y un gran etc.

How are you working at the moment? Do you do comissions or different types of photography?

The last two big pieces of work I've done, have been photo stills in movies. This is a very documentary style, and the quantity and quality of the work depends on the photographer. In editorial portrait, the size of the team is usually very limited, a journalist and the photographer. In other cases, where there is more time and especially for fashion, or doing commissions, it’s usually in bigger teams. It always depends on each case.

Los dos últimos trabajos grandes que he hecho han sido foto fija en Cine. Ese trabajo es muy documental, y depende de uno la cantidad y calidad del registro. En retrato editorial el equipo suele ser muy limitado; un periodista y un fotógrafo. Ya en otros casos, donde hay más tiempo, y sobre todo para moda, o encargos, suelen ser equipos. Depende siempre del caso.

Can you pick one photo and describe how you approached the subject?

In editorial portrait, the time to take the shots is usually very limited; on average there will be about 15 minutes. With such short time one must be sure to get at least about 3 good pictures and that way I can always bring a basic idea and talk to the client about it. As the people I work with are used to doing photo shoots, it is very easy to get a good photo which gives me the time to play later, sometimes it works, and sometimes it doesn’t.

En retrato editorial por ejemplo los tiempos para hacer la foto suelen ser muy limitados, en promedio serán unos 15 minutos. En ese tiempo tan apretado uno debe asegurar por lo menos unas 3 fotos buenas, así por lo general llego con una idea básica y la converso con el sujeto. Como los retratados están acostumbrados a las fotos, es muy fácil trabajar con ellos, y rápidamente se obtienen las fotos seguras, lo que da el tiempo para jugar después, que a veces resulta, y a veces no.

Is there much support for the emerging artists in Chile?

I tend not to believe that with support from some external person you’re going to grow from nothing. It’s a strong will that gets things done, to find work, to show your portfolio, to meet new people and generate projects together. A much stronger support for me is love, and more than anything from noble people that I’ve met, many of them are now great friends.

Trato de no creer mucho en el apoyo de alguien externo que te va a conocer y vas a crecer de la nada. Es la voluntad la fuerza que te lleva a hacer las cosas, a buscar trabajos, a presentar tu portafolio, a reunirte con gente que no conoces y así generar proyectos en conjunto. Mi soporte más fuerte es el amor, y sobre todo de personas nobles que uno va conociendo, muchos de ellos ahora son grandes amigos.

Where would you like to be in 5 years time?

In five years I hope to be just as happy as I am now, working, getting to know myself. And maybe it might sound a bit silly and pretentious, but I dream that in 5 years time I will have my own book published with photos, portraits of people, with film stills, landscapes, who knows? Because as you can see, I can’t write, let alone in English, and if it is understood, it has been corrected! [laughs].

En 5 años espero estar igual de feliz que ahora, realizándome, conociéndome. Y quizás ahora suena tonto y pretencioso, pero sueño que en 5 años más pueda tener mi propio libro con fotos, retratos de personas, con fotogramas de películas, paisajes, quien sabe.  Ya que como han leído, no sé escribir, y si se entiende, es que lo arreglaron.

To contact Eduardo Moreno, you can email him at eduardo.moreno.d@gmail.com or jump to his website

Founder and president of the Chilen based poets of the world, Luis Arias Manzo has penned several books including; Agualuna (Watermoon; 2002) Mil años de Amor (A thousand years of Love; 2003) and Instantes (Instances; 2004). His work is also featured in countless anthologies. Luis submitted the following poem, Pachamama III, to us from  Mil años del Amor (translation by chileno.co.uk).

Pachamama III

¿Cuánto tiempo anduve en la oscuridad
Antes que tu llegaras en luces de luciérnagas?
El bosque estaba oscuro desde aquel día
Cuando nos acorralaron en la emboscada.

¿Cuántos siglos estuve perdido
En la memoria muerta de la luz?

¡Qué negro panorama nos pintaron
Con los colores de la nada y del vacío!
Creían que nos enceguecían y nos mataban,
Pero jamás pensaron en nuestro pacto.

Nos dejaron vagar en el sombrío paisaje
Y en la falla del caos y la perdición.
Pero ya nada nos detiene,
Cada uno de nosotros acude a la cita
Y nos volvemos a juntar como antes
En el abrigo de las grandes gotas de la tempestad.

Pachamama III

How long had I been walking in darkness
Before you came in firefly lights?
The forest was dark from that day
When we were cornered in the ambush.

How many centuries had I been lost
In the dead memory of the light?

How black was the view that they painted of us
With the colours of nothing and emptiness.
They thought they had blinded and killed us,
But they never thought of our covenant.

They let us wander in the gloomy landscape
And in the breakdown of chaos and damnation
But nothing stops us,
Every one of us attends the appointment
And we get back together like before
Under the cover of the large raindrops of the storm.

Tonight I can write

Tonight I can write the saddest lines.

Write, for example, 'The night is starry
and the stars are blue and shiver in the distance.'

The night wind revolves in the sky and sings.

Tonight I can write the saddest lines.
I loved her, and sometimes she loved me too.

Through nights like this one I held her in my arms.
I kissed her again and again under the endless sky.

She loved me, sometimes I loved her too.
How could one not have loved her great still eyes.

Tonight I can write the saddest lines.

To think that I do not have her.To feel that I have
   lost her.
To hear the immense night, still more immense
  without her.
And the verse falls to the soul like dew to the pasture.

What does it matter that my love could not keep her.
The night is starry and she is not with me.

This is all. In the distance someone is singing. In the
   distance.
My soul is not satisfied that it has lost her.

My sight tries to find her as though to bring her closer.
My heart looks for her, and she is not with me.

The same night whitening the same trees.
We, of that time, are no longer the same.

I no longer love her, that's certain, but how I loved
  her.
My voice tried to find the wind to touch her hearing.

Another's. She will be another's. As she was before my
kisses.
Her voice, her bright body. Her infinite eyes.

I no longer love her, that's certain, but maybe I love
  her.
Love is so short, forgetting is so long.

Because through nights like this one I held her in my
   arms
my soul is not satisfied that it has lost her.

Though this be the last pain that she makes me suffer
and these the last verses that I write for her.

Poema Siete

Pablo Neruda. Twenty Love Poems and a song of despair. Translated by W.S. Merwin. Jonathan Cape, London. (2004). Available from many outlets.

Later I carried out other exhibitions, individually and collectively, made several trips to the U.S. where my sister lives and I started working there for a nonprofit foundation (The Snowman Foundation) making illustrations for children. I taught painting through expression for children and I organised an auction of paintings donated by various artists, to benefit two nonprofit foundations that help women and children victims of domestic violence.
After finishing my career in design, I lived in Ravenna, Italy, where I fell in love with ancient mosaics. My time in Italy was very important on an artistic and personal level.
Now living in England I started making mosaics with broken plates.... literally!, all this began when I received as a gift a couple of old plates that were broken and I did not want to throw them away.... Then I looked at ancient pottery, half broken, cracked etc.... I ended up being interested in English pottery and porcelain, what wonders! I keep making mosaics with different materials but mostly utilitarian pottery.

I started working with mandalas after having had a very special dream, it quickly became a part of me and made my art evolve to a more spiritual level.
Following my own experience I can say that art has incredible healing properties, which has been an area that I wanted to develop for many years.
I am currently studying Clinical Hypnosis and I am deeply grateful to have discovered this new vocation, which will certainly complement the art.
Cuéntanos acerca de ti Karin.
Nací en Santiago, Chile. Desde pequeña siempre mostré una inclinación por el arte, llenaba cuadernos con dibujos y si no eran dibujos, escribía cuentos o me dedicaba a hacer manualidades. Mi mundo interno era (y aún es) profundamente rico en colores y formas.
Todas mis vivencias, la música, libros, sabores, aromas, distintos idiomas, la gente, los gestos, todo forma parte de la inspiración que llega y sale de mí. Soy muy curiosa, todo me llama la atención, me maravillo y me apasiono mucho con lo que me gusta y creo que eso nutre mi arte infinitamente.
Siempre supe que quería dedicarme al arte y fue así como entré a estudiar Diseño en Equipamiento en la ULS en 1995. La carrera en sí me dio muchas herramientas y estructura para llevar a cabo un trabajo creativo más concreto, pero lo que llenaba mi corazón era el arte visual, la pintura, el dibujo.
Realicé mi primera exposición individual en 1999, a través de la cual conocí gente muy valiosa, hice mis primeras ventas y me dio la confianza para seguir en mi camino artístico.
Posteriormente realicé otras exposiciones, individuales y colectivas, hice varios viajes a USA donde reside mi hermana y ahí comencé a trabajar para una fundación sin fines de lucro (The Snowman Foundation) haciendo ilustraciones para niños. Di clases de expresión a través de la pintura para niños y organicé un remate de pinturas donadas por distintos artistas, para beneficiar a otras dos fundaciones sin fines de lucro que ayudan a mujeres y niños víctimas de violencia domestica.
Luego de terminar mi carrera de Diseño, viví en Ravenna, Italia, donde me enamoré perdidamente de los mosaicos antiguos. Mi tiempo en Italia fue muy importante a nivel artístico así como en lo personal.
Ya viviendo en Inglaterra comencé a hacer mosaicos con platos rotos….literalmente!, todo esto comenzó cuando recibí como regalo un par de platos antiguos que se quebraron y que no quise tirar a la basura…. Luego busqué cerámica antigua, media rota, trisada etc…. Terminé interesándome en la cerámica y porcelana Inglesa, qué maravillas! Sigo haciendo mosaicos con distintos materiales pero principalmente cerámica utilitaria.[Spring Time Forever (above) is, at the time of writing, available to purchase. Contact Karin directly for an enquiry - may not stay for sale for long!]
Comencé a trabajar con mandalas luego de haber tenido un sueño muy especial, rápidamente pasaron a formar parte de mí e hicieron evolucionar mi arte a un nivel más espiritual.
A raíz de mis propias experiencias puedo decir que el arte tiene propiedades sanadoras increíbles. La sanación ha sido un área que he querido desarrollar desde hace muchos años.
Actualmente estoy estudiando hipnosis clínica y me siento profundamente agradecida de haber descubierto esta nueva vocación, que sin duda podré complementar con el arte.
Chileno:Why did you decide to come to live in England and how has this culture change has influenced your work?
Karin: I met my husband Eric in 2005, through an online art group, he is also an artist and paints wildlife (www.ericwilsonwildlifeart.com) we hit it off straight away. He is the reason why I came to England!
I've always been interested in and in contact with other cultures and languages, so coming to live in England was not such a brutal change. It was instead, the beginning of a new phase in my life that I enjoy deeply. England is my home, is a land that makes me feel at peace, that inspires me through the history, the culture, the landscape.
I feel that I'm on track in my personal life, I feel happy and grateful for everything. I have a 4 year old son who has filled my life with love, colour... and well, with the arrival of children inspiration never runs out!
Cual fue el motivo de querer venir a Inglaterra y como ha influenciado en tu trabajo el hecho de vivir en una cultura distinta?
En el 2005 conocí a mi marido, Eric, a través de un grupo de arte online, él también es artista y se dedica a pintar animales salvajes (www.ericwilsonwildlifeart.com) fue una conexión casi instantánea. El es la razón por la cual llegué a Inglaterra!.
Siempre he estado interesada y en contacto con otras culturas e idiomas por lo tanto venir a vivir a Inglaterra no fue un cambio brutal. Fue más bien el comienzo de una nueva etapa en mi vida, que disfruto profundamente. Inglaterra es mi hogar, es una tierra que me hace sentir en paz, que me inspira a través de su historia, de su cultura, de su paisaje.
Siento que estoy bien encaminada en mi vida personal, me siento contenta y agradecida por todo. Tengo un hijo de 4 años que ha llenado mi vida de amor, de color... y bueno, con la llegada de los hijos la inspiración es inagotable!
Chileno: What have been the predominant factors that have shaped the design of your paintings (your own signature)?
Karin: I think my style has unconscious roots… the factors are simply internal states, imagination, inspiration that comes and gets processed in an instant manner.
Cuáles han sido los factores predominantes que han moldeado el diseño de tus paisajes (tu propio sello)
Creo que mi arte tiene raíces bien inconscientes... los factores son simplemente estados internos, imaginación, la inspiración que llega y se procesa de forma instantánea.
Chileno: What are the sources that you draw from to get inspired in new designs?
Karin: Everything that is positive and happy inspires me, the music, the vivid colours, nature, a day out, a good picnic, the smile of my son, sun rising… I live inspired!
A qué fuentes recurres para inspirarte en nuevos diseños?
Todo lo que sea positivo y alegre me inspira, la música, los colores vivos, la naturaleza, un día al aire libre, un buen picnic, la sonrisa de mi hijo, el sol de la mañana....vivo inspirada! :)
Chileno: How can we buy your art? Do you have a gallery?
Karin: Via my website, there are original paintings as well as reproductions in paper and canvas. [editor: Karin has since devoted her website to her new career www.karinmomberg.com]
Como podemos acceder a comprar tu arte? Tienes una galeria?
A través de mi sitio web, hay obras originales así como reproducciones en papel y en tela.
Chileno: The work you developed on the mandalas is extraordinary, how was it that you achieved such precision and harmony that is reflected in the paintings?
Karin: Thank you, it has been a spiritual journey, the creation of a mandala is a meditation.
El trabajo que desarrollaste acerca de los mandalas es extraordinario, como fue que lograste tan gran precisión y armonía que se refleja en las pinturas?
Gracias, ha sido un camino que he ido recorriendo a un nivel espiritual, la creación de un mandala es en sí una meditación.