19th Century Library To Show Kyoto School of Fine Arts

I did two formal years of ceramics at the Universidad de los Andes with Ivano Di Batista, an Italian teacher from the neighborhood. I taught in popular workshops in different cities of the country, which began in slums of Bogotá, with the Latin American Center for Popular Communication.

I spent a year as an assistant at the Kyoto School of Fine Arts. And since on the trip with my dad I had met two workshops of engraving and printing on fabric, I looked for them and asked to be authorized to attend. I didn’t get certifications but I learned the technique.

On the way back I was a bit out of place, my younger brother had already married, and it took me a while to get organized again.

Any day I went to a Coffee Cultural Fund concert and I was fascinated by the auditorium. It was very large square panels, so I proposed to the director, Aida Martínez, to paint the ceiling, she did not accept because it damaged her acoustics but she introduced me to Anita Roda and Fernando Salazar.

Who were building the 19th century library. After fifteen days this man called me to ask me if I was interested in illustrating a storybook and I said yes, he invited me to lunch but because he did not take the texts, he invited me to lunch again and so on and on. I married Fernando almost without knowing each other.

When I counted in my house, my dad said: “If a person so unfriendly of marriage decides to marry, I suppose it is because he has thought about it well.” We had two children, Santiago and Daniel, and while living the pregnancies and their upbringing.

I made exhibitions of miniatures, worked a time in art pedagogy and was co-founder of the Japanese Colombo Center in which I directed the cultural activities. I separated after six years of marriage.

Mauricio Quijano had been my brother Francisco’s architecture partner, and with him we presented ourselves to make prints and etchings for the book Gonzalo Ariza that Villegas Editores was going to take out, so we worked on that project. That sharing caused us to encourage ourselves to open a workshop for artists, we did collective exhibitions in mechanics workshops, in factories, in schools.

Although I had no greater interest in reorganizing, we fell in love and decided to share our lives. Mauricio is Samuel’s father, who at that time was twelve years old and came to live with us. We chose Calera as our place, where our children had a fun childhood and they did attend school (laughs). They rode on horseback, by bicycle, and made parties on weekends at home.

Santiago started Fine Arts in Los Andes, then in Tadeo, then photography in Buenos Aires and now he is dedicated to engraving, the fourth generation of artists in the family. Daniel began to study cooking and went to Hospitality and Tourism which is what he does.

Samuel wanted to be a radio host, traveled to France to study journalism, then finished Political Science to return to the country to work, traveled to Chile, married Lina María Bello, also a Business Consultant and they have a beautiful baby, Alejandro.

I’ve always been fascinated by the mountain, I was a mountaineer, hiker, climber. I have traveled though not everything I wanted and that desire to know, to have travel experiences and to experience other cultures still invades me. I learned some Japanese, Chinese, French, English and I have exhibited in countries like Japan, Peru, United States, France. I have participated in Barcú, an art fair in Candelaria that I love.

I enjoy the transformation of experiences in painting. I am accelerated, I need to move and, when I paint, I find a state of relaxation and meditation, of unity. I am violet because it vibrates a lot in me and, I am a brush and a bird, for its mobility.

My closest resemblance to my dad, in addition to dark circles, is in love for the landscape and for nature. Nature has a temper, an emotionality that can be my own as an observer. The landscape has an energy, a luminosity, which is what I seek to capture.

My biggest challenge is to be able to paint the intangible space between the landscape and the painter-observer. For the same reason I am a cloud, because I love the ethereal, the mobile.

My sense of existence is in love, in finding beauty in everything, in seeking how positive one of its manifestations is.

One day I resolved that if Maria de la Paz called me, she should take my name very seriously. I consider myself very pacifist, I think everything can be solved without the need for conflict or aggression.

I like to give affection to the people who approach me and I would like to be remembered as a painter.

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