In my own words...

I am a visual artist based in the United States. My art practice comprehends visual and curatorial arts with a primary focus in installation using video, sound and re-purposed objects. I like working with moving images and sound because I find the medium malleable and favorable for the stories I like to tell, whereas I make the work or create an exhibition.

My most recent video installation is called, "View from the Crystal Tower, or..." it is a work that far from dealing with identity it brings forward the interrupted path of the children of Latin America resulting from foreign penetrating forces and politics in the region for hundreds of years, that has possibly been the single motivation to explore life (undocumented or otherwise) in the US. After several conversations with other colleagues on global politics and the colonization of the female Latin American body, I decided to invite five women artists to participate in a group show to commemorate Women's Suffrage and women of color during Women's International Day this year. This is how my latest curatorial project, and second iteration of Power of the Feminine, was born. It's full title is Power of the Feminine: (Re)Interpratadas. The multimedia exhibition showcased the works of Karina Aguilera Stravinsky, Constanza Bizraelli, Cristina Flores, Rebecca Montalvo, Laura Drey and myself.

Towards the end of 2018-19, I produced Rojo Rosa Rosado, a work that opens dialogue to femicides throughout the Latin American region and how women continue to be a target for mistreatment. Rojo Rosa Rosado lead to an award and recognition by the Ministerio de Cultura y Patrimonio in Quito, Ecuador and was also selected as a public art piece at Aqua Art Miami last December.

In 2018-19, I curated my largest time-based media exhibition this far, Vital Signs by Twisted Oyster. This exhibition's first show took place at the 2nd floor gallery of the Zhou B Art Center in Chicago, a 15,000 square foot space where I created two cinema environments. The other two iterations took place in Greece and Italy. Vital Signs brings awareness to the climatology crisis worldwide with artists originating from Peru, Mexico, Spain, Italy, Uzbekistan, Russia, former Yugoslavia and the US.

Earlier in 2018, I embarked on a self-guided research traveling to Mexico and South America, where I conducted conversations and studio visits with artists in the region. I found that we all shared the same preoccupation for the United States departure from the Paris Agreement and we felt compelled to highlight issues like the disappearance of bees, the death of the coral reefs and plankton (leaving the human chain at an urgent risk of attention), the rage of tornadoes and hurricanes, the evidence human print spread throughout the globe (through the accumulation of trash, specifically plastics), the wandering of icebergs from Antarctic, industrial pollution (from factories to mining corporations robbing indigenous populations of legitimate ownership of their land to dig for minerals) in the Altiplano, and their consuming of poisonous waters (as a result of this tampering into natural resources), aquifires at risk due to urban sprawl, and military interventions responsible for the disappearance of entire ecosystems in Asia. To say, the least, Vital Signs was a very moving show and many people in attendance expressed it.

I am also the founder, director and curator of Twisted Oyster Festival, a theme based event created with the sole intention to connect and interact with the community. The festival has given me the opportunity to present large scale events, like Vital Signs, but mostly, it has given me a platform to voice our concerns on current issues. One of the earlier editions of Twisted Oyster was themed, Freedoms. The poised open ended question gave me the ability to connect with artists from all around the globe and I was able to showcase video art and films in two separate venues, ACS Gallery and Comfort Film Station, in Chicago. This was the year I sought the assistance of jurors due to the massive turnout, and for the first time I noticed a common thread through the majority of films: distress. The world seemed so fatally flawed, then and honestly I don't think we were prepared for the four years that followed. Freedoms by Twisted Oyster opened on November 2016.

For 2020, I decided to take a sabbatical from the festival, which up until 2019 it has been an annual event. I am currently working on the second phase of a beautiful project that documents contemporary American stories. The first phase of the project was commissioned to me after the showing of my work, Subspecies Synergia, a video art installation that deals with identity in retrospect. Subspecies Synergia has appeared in the group show, I AMerican since its inception. I AMerican was initially organized around 2013-14 by Sergio Gomez (artist and curator in Chicago), and it has grown momentum in the past few years. It is a show that prompts the question of who gets to be an American today. The last time it made an appearance it opened at the Freeport Art Museum in Illinois and as a result, I was commissioned to produce an oral histories collection now called, American Tales in the Making. The collection now resides in the archives of the museum. As I mentioned I am working on its second phase, collecting the stories of urban Americans, people from all backgrounds and communities. So if you are interested in participating, please email me at KineticArtProjects@gmail.com

In reflecting on my work, I have always felt that I stand at the intersection of something. As a young child I carried a lot of fantasies in my mind, I am my parents' only child, but the fourth and the youngest on my dad's side. So I stood at an awkward intersection dealing with the generational gaps within my own family. As a young person and into my present day, I have stood as an in-between, being neither from here nor there, otherwise known as my homeland of Lima, Peru. And now as an adult, as a professional in my practice, I stand pivoting between making art and showing art. I have found that Art is my most powerful weapon. I enjoy standing at this intersection of art and technology, of the digital and the more traditional formats. My goal as a visual artist working in video and curating shows is ultimately to tell you a story, immerse you into a sensorial experience where your only escape is to think about what I am trying to share with you, and ultimately open a dialogue. I treat every idea, creation and curatorial project with the attention it requires and I turn environments into vehicles for expression of social and global concerns where artists and curator function as a unit exploring the human condition.

Some of the recurring themes in my practice relate to gender, climate change, immigrant life, Latin America and loss. I document life instances using video cameras, sound recorders, and writing notes and journal entries in my research database.

Yours truly, madly and deeply,
Pia