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the ruin in the city

The ruin in the city

The earth in the city

The ancient in the city

The craft in the city

Pottery in the city of today

What does it mean

To be, to dwell within these concrete cubicles

How does this shape our lives

Progress and modernity

have led us to this moment

Inhuman transgression

disconnected from nature

Living together

stress and decay

Technology and hierarchy

To bring the clay into the city

as an outsider element

To go up to the hill

as a distant observation

To relate

inside

and outside.

What is far?

And what is close?

What is urban?

and what isnt?

And what should be protected?

How many wetlands

How many hills and territories

should be taken care of?

How many places will be destroyed

by building companies?

How many parks and hills will decrease their nature

because of human greed?

How do we rethink craft

and in which way

shall we protect

rescue

transform

The soil breathes

It makes the earth and the trees breathe

Soil is never waste

It nourishes the muddy forests filled with flowers.

How do we save our hills from drying and dying?

How do we discover matter? Without grabbing all of it?

We shall be cautious.

We shall investigate different territories.

By  gathering different clays

we would be investigating difference.

Where will this reflection and discovery lead us?

And to create, in which sense?

To ramble is to feel diversity. Meticulous diversity.

The colors that we find, how do they speak?

What do they say?

Sounds of mud,

voices of clay.

Each clay will have a different sound

when is becomes ceramics.

Maybe we could feel the sound of ceramics

in different territories, like little paths

coming together.

What does it mean to find our own material?

To grab one must first give thanks. To ask permission.

To be transformed in the process.

To turn the soil into something that will join us, somehow.

How do we colectivize processes?

Now I know

clay may exist everywhere,

in each path I walk.

In each crack I see  through the concrete.

There it is. 

Cities could be made out of clay.

We have to go up the hills.

To walk a little bit more.

To get out of the plain.

To become an outsider.

To bring the mud into the city.

Or to inhabit the mud in its own place.

How does mud gets burnt? And why?

What is ceramics? And what is it for?

How do we build?

How do we ritualize?

How do we dwell?

How do we coexist with nature?

How do I take roots with the craft?

How do I separate, expand, or link?

What has Architecture to do with all of this?

Spaciality, body.

Bioconstruction. 

Organic, sustainable methodologies.

Permaculture.

Ecopolitics.

Sustainable design methodologies.

Research and archive methodologies.

A record of territories and nature.

Cartographies of cities and nature.

The significance of the hills.

Cycles.

To go out to the field means to go down on nature.

To submerge into distances and times of yore.

To get out of the city.

It means to submerge into the deep silence.

Outside of mechanical noise.

To live in the trees.

To listen to the clouds moving.

But you can still hear the city from afar.

I went to Quilpué with Paz, we went down to the route of El Retiro.

We walked through the estuary of Quilpué.

Then we started walking up to the hill.

A mound between houses, dissapearing behind the cliffs.

bycicle routes. Rocks filled with graffitis. Machines.

Abandoned trucks. A crack on the hill was the first thing I saw.

And a sign that read: Private property. Do not cross.

To the side, an upward path.

We walked 10 minutes and arrived to a cave of hawthorns.

We hid from the sun and ate oranges.

We sat and I noticed right there was the cracked mud.

I was standing on the very clay. And many dry leaves.

The autumn was ending. Almost no rain. Everything was dry.

My friend started singing to the waters. Giving thanks the Pacha.

There she was, on the dry mud. We kept going up. I saw orange curves.

I started recording her, walking barefoot. She did come here a few times before,

now she wanted to express herself through her body. We found a vein and my friend 

submerged herself through the crack on the land, sliding across. Inside the land.

There it was, the clay. Tactile matter. So dry, so rough, but sensitive.

After this profound greeting, inside and outside, I submerged and greeted too.

I asked for permission to the land, and grabbed what I could.

Maybe I will come back, to touch the soil once again.

My friend and I walked until midnight and glanced at the city from up the hill.

We saw the light, we felt a calm darkness. The songs walked with us. The rattle of the hoof.

We gave thanks to the dusk and the being.

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Visual Imaginaries, Tactile Poetics, Creative Sensitive Haptic Poetics.

During my creative process, I draw upon the expressiv line of my unconscious to create a rhizomatic and intuitive poetic narrative. My goal is to construct a fragmented atmosphere that invites viewers and participants to immerse themselves in the material poetic space. This creative approach involves using the original observations and thought processes of my hands to create visual imaginaries, as well as tactile, haptic, and sensitive poetics. The artifacts I create have an organic nature, and often interact with each other to assemble and disassemble fragmentary works that build a collective play atmosphere. To achieve this, I use vibrant and sensitive techniques that are reflected in ceramic objects and pictorial exercises. I draw inspiration from found objects and sustainable organic materials such as mud, residues, primitive and original elements. My poetics line in the encounter with the material in its purest state, and the direct manipulation of materials is the beginning and meaning of the organic architecture of my works. My creative process involves reflecting on poetic interculturality, thinking collectively, micro-politics, sensitive politics, vanishing points, open points, turning points, points of questioning, points of destructuralism, and exiting social normativity. As an artificer, my trade is brought to the collective through manual craftsmanship of thought, collective writings, constructive mental systems, and experimental bio-construction of desire. I assemble natural materials to create unique and inspiring installations. For example, in my installation “Macula” (2018), I transformed remains of engraving into a system of spots that, when grouped and or- dered, became a modular unit that adapted to different spa- ces, offering new and infinite possibilities.

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Montage with ceramic waste, broken pieces and sensitivities, simulation of a paper, a petal, a mist, a cave, simulation of a flower, of a fungus, abstract composition of organic elements modeled by hand with the pinch technique. Montaje con residuos ceramicos, piezas rotas y sensibilidades, simulación de un papel, un petalo, una bruma, una cueva, simulacion de una flor, de un hongo, composicion abstracta de elementos organicos modelado a mano con tecnica de pellizco.

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Experiments in ceramics and visual exercise.

As if it were that found matter, almost archaeological of a multiple organic with a remote presence at the same time, but new at the same time. These morphous forms existing between waters and lands, similar to a sea foam, a bone, a coral, almost like an object found among the opaque black sands. visual imaginary shell. It is situated in a multidiverse, undulating floating spectrum. Compact and airy. The air crosses mortified earth material. Burnt intact mud, static transcendent luminous matter, earthy organic transformation. * touch sensitivity

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Collective field trip, clay collection, valparaíso city, gomez carreño, juan pablo park, quilpue, merced hill. explorations with local material.

Salida colective a terreno, recolección de arcilla local, ciudad de valparaíso, gomez carreño, parque juan pablo, quilpue, cerro merced.

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Experiments in ceramics and functional objects Experimental mud laboratory .

https://www.instagram.com/purisimaproject/

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Present and Future collaborations with atelier-do. Design and collective arquitectures .

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Experimental processes with local clay and white stoneware clay; From the utilitarian to the sculptural or from the sculptural to the utilitarian, playing with small fragments of ceramics / basins / vases and mini haptic sculptures from experiments in collecting clay, marbling and enamels, stone, shell, sea approximation. (in Valparaiso, Chile).

Procesos de experimentación con arcilla local y arcilla blanca gres; De lo utilitario a lo escultórico o de lo escultórico a lo utilitario, jugando con pequeños fragmentos de cerámicas / cuencas / vasos y mini esculturas hapticas de experimentos de recolección de arcilla / marmoleados y esmaltes / aproximación piedra, concha, mar. (en Valparaiso, Chile). https://www.instagram.com/p/CmQe-TIuD8f09sbjcLUl4gEB8zcGTEuIE82p5k0/?igshid=NGJjMDIxMWI=

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Visual exercises, encounters with La Mancha, inking processes, typographic ink. @purisimalagraphic _ Valparaiso, Chile.

Ejercicios visuales, encuentros con la Mancha, procesos de entintado, tinta tipografica. @purisimalagraphic _ Valparaiso, Chile. https://www.instagram.com/p/CmVR3tKuKQFIueEQD88yRpp0qKCSsQcQHFLJGM0/?igshid=NGJjMDIxMWI=

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Reds / stained papers / lost papers. Paintings on recycled papers.

Rojos / papeles manchados / papeles perdidos. Pinturas sobre papeles reciclados. https://www.instagram.com/p/CmQj_FZu8XSNcmuvMpS-5Z_Rw3-56bcSNQm7sA0/?igshid=NGJjMDIxMWI=

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Atelier 2022-march. 2023.

Purisimalaviuda Valparaíso Workshop, March 2023. Chile. Morphology of earthy matter, Ruined sculptures appear between boxes. slips and glazes; production of clay in the experimental laboratory of ceramics. Intuitive formulas and collective learning. Cyclic circuit of sustainable production on a small scale. Collections and taxonomies of broken stones and figurines. Organic accumulation. Ash accumulation. Of stones. Accumulation of miniature geographies. Minerals and glazes.

Taller Purisimalaviuda Valparaíso, Marzo 2023. Chile. Morfología de la materia terrosa, Esculturas en ruina aparecen entre cajas. Engobes y esmaltes; producción de arcilla en el laboratorio experimental de cerámica. Fórmulas intuitivas y aprendizajes colectivos. Circuito cíclico de producción sustentable a pequeña escala. Recolecciones y taxonomías de piedras y figurillas rotas. Acumulación de orgánicos. Acumulación de cenizas. De piedras. Acumulación de geografías en miniatura. Minerales y vidriados.

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Q https://www.instagram.com/p/Clr3yoxur5MFSWrlurRLfHvv-JaziJS1O9mFbo0/?igshid=NGJjMDIxMWI=

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Tactile cartographies, vanishing points, imaginary abstract composition of organic elements. Detail of ceramic wall mounting, Worm gallery. Valparaiso, March. 2023.

Cartografías táctiles, puntos de fuga, composición abstracta imaginaria de elementos orgánicos. Detalle montaje de cerámicas a pared, Worm gallery. Valparaíso, marzo. 2023. https://www.instagram.com/p/ClmvutBOfeFs_hTgzqM4G6g3EARhvoEfbGJfAU0/?igshid=NGJjMDIxMWI=

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P/A Proof of author, Organic xylography. Valparaiso, Chile. Typographic black ink. Matrix in marine plywood.

P/A Prueba de autor, xilografía Orgánica. Valparaiso, Chile. Tinta negra tipografica. Matriz en madera terciado marino. https://www.instagram.com/p/CljYV9jur8WY-AjykUQ8Yqx-O0vHspj6g3M8Z00/?igshid=NGJjMDIxMWI=

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Visual exercises, Seven lines and color / labyrinth atmosphere / dimension flat bodies and path

Ejercicios visuales, Sietema de trazo y color/ atmósfera de laberinto / dimensión cuerpos planos y recorrido.

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Detail of serigraphy on ceramic. detalle de serigrafia sobre ceramica.

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Ceramic Gres chamotte thick glazed bronze, Credits Photo by @niconavarrogardens _

Cerámica Gres chamota gruesa esmalte café y bronce, Créditos Foto de @niconavarrogardens _

@purisimalaviuda @romercadoj