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“Marine Consciousness” focuses on the exploration through sculptural ceramics of octopuses, squids and cuttlefish (cephalopods), beautiful and enigmatic creatures that have captured the imagination of the human being throughout history, challenging our conception of intelligence, consciousness And form. The name of this exhibition is a play on words between the term “conscience” which is related to the evolution of consciousness and intelligence in the sea and the words “con-ciencia” (whose literal translation from Spanish would be with-science), that is to say, with the scientific research around this topic (“science” comes from the Latin “scientia” which means “knowledge” and is the origin of the word Consciousness). Although cephalopods are more closely related to snails than to primates or crows, their ability to learn, use tools, hunt behavior, and care for young makes us reflect on our own intelligence and awareness, on how much we know about the nature of the sea and what surrounds us. Simultaneously, ceramic is fragile and reminds us of the fragility of life and calls us to reflect on our ability to influence the destiny of these beings.
I investigated the species I was portraying by observing them live at the “Tentacles” exhibit at the Monterey Bay Aquarium, where I had the opportunity to see them backstage, sketch them, take photographs, and videos. Additionally, I visited the lab of Dr. Iker Uriarte in Puerto Montt to study the Patagonian octopus, Enteroctopus megalocyathus. I read their scientific descriptions and explored scientific papers that delved into different features of their intelligence and life history. I also interviewed scientists who investigate them. Special thanks to Dr. Uriarte, Dr. Peter Ward and Dr. Eric Edsinger-Gonzales for their time and generosity.
I worked the pieces solid, paying attention to being precise on the morphological details of the species while also exploring liveness and gesture. I then cut them, carved them, and put them back together. I fired them in an electric kiln and used underglaze, glazes, and encaustic finishes. Additionally, I added text through image transfer on their surfaces, which are extracts from scientific research papers.
The inauguration of these pieces was first done at the Biblioteca Viva in Concepción, Chile. It was important for me to give a talk that spoke about the process, scientific research, and art/science connections. I am really grateful to the team at Biblioteca Viva, and especially to Loreto Aroca, for this opportunity.
The piece ‘Origin’ was part of the exhibit ‘I love you more: Cephalopod Interface,’ which took place at the Crete Aquarium, Greece, between March 28th and September 28th, 2017. I would like to extend my gratitude to the curator and artist Ryuta Nakajima for inviting me to be part of this exhibit. (Pics by R. Nakajima)
Conciencia Marina” was exhibited at Gallery Lucarna in Frutillar, Chile. I am grateful to the artist and curator Felix Lazo for the invitation.
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