Let's imagine that a work of art is a kind of living organism, (for me it is), that enables an open connection between the person who creates it (the artist) and the person who ultimately enjoys it (viewer / collector / institution). When creating a piece, the artist pours into it a series of emotions, concepts, messages, and the viewer capable of connecting with it establishes a conscious or unconscious dialogue, reflecting again on the aura of the piece their emotions, their connections, etc.
I feel that the connections established with each viewer recharge the works with energy even if they are somewhat static. And for that reason, I also feel that the work loses life (or stops gaining it) when it is not viewed, because it stops channeling, connecting, manifesting toward someone who is capable of perceiving it, transforming it, and making it their own.
I believe that art is a reflection of our soul, and that when we connect with a work, we connect with something that we have within ourselves. I understood this in an incredible way when, at one of my exhibitions, a lady cried in front of one of my abstract works. It seemed very intense and intimate to me, and that is how I understood the power of art; especially of abstraction.
I usually think that when we connect with something figurative it is often because it contains a very clear, obvious, definite, and understandable message for our rational part, but connecting with something abstract I think is something magical. Because it connects with something that even we ourselves have not even verbalized and that we perhaps do not even know how to explain.
I had always been interested in emotions, the human being's capacity to feel, the particularity of the connections between any event and the heart; and art is practically working on that conscious or unconscious part through its own language and returning it to the world with the sole purpose of giving life and prominence to our capacity to be.
In my way of working, countless techniques and forms of expression fit, because I have a curious attitude toward life; and I am not very restrictive regarding my ideas. When something comes to mind, I look for all the variables that allow me to see how to make it a reality. This is how I have ended up materializing, without being aware, those drawings I made when I was little. Masses of colors floating in space may seem somewhat unreal, but life and my concerns have led me to be able to materialize everything I am capable of imagining.
I suppose that is what people see in me and in my work, the reflection that everything is possible when you trust your instincts, work at it, and feel it in your soul.
For some time now, I have been accustomed to recording everything through audiovisual images, trying to bring my world closer to anyone interested in my work and/or in the profession of the artist from an intimate and daily perspective. For this reason, I record my processes and my day-to-day life. This has constituted a process of introspection and, at the same time, a mechanism with which I feel comfortable connecting with the viewer in a closer way.
I also think that everything that is not recorded ends up forgotten, and I feel that the processes and the atmosphere created in the studio during creation are magical. Additionally, the possibility of showing myself approachable balances a bit the solitude in which we artists find ourselves immersed. In the end, we are communicative beings, whether through one medium or another.
I really enjoy talking with other artists from anywhere in the world but also with artists who are at the beginning or midway through their journey. I feel like I am talking to the Gemma who was at that point in her path.
