Voragine TV | Juana Gomez.Artista Visual.En first person

My name is Juana Gómez, I studied art at the Catholic University of Chile.

My research began to take shape in school when I had my first course in engraving and found that repetition of Minimum units could build something bigger. Then I noticed how that replicates in many aspects of life.

Embroidery is something I inherited from my grandmother, photography and drawing came together naturally. The photograph helps me to generate the coordinates where the embroidery will be built, with the drawing I draw the path that the threads will follow and the embroidery generates a new being that becomes transparent, letting you see what happens inside, under the skin.

My first imaginary has been nature. When I was 13 years old, I grabbed a crochet and went down to the garden to draw with lights and shade. The first thing I drew was a rose. I was born near the sea, I lived in the south of my country and I had to be in the country, the pampas, the rivers, the cold, the snow. I have never ceased to amaze the trees, the clouds, the waves. I like to think that we are part of that, that language that happens at all levels, despite the layers that separate us, the instructions and social guidelines that we carry.

I think my style could be defined as ritual -conceptual. The formation of images and art have always been beyond the intellect, the language, in a space of silence in which information enters the eyes and runs through the body, affecting the whole body. This encounter generates multiple reactions, meanings and connections, but each one of them leads to limit the experience. I try to connect with something we left forgotten in the caves.

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I remember seeing an Indiana Jones movie in which the heart was still beating a guy, straight from the chest, with his hand. From there I always wanted to be an archaeologist. I studied art, but archeology is something that moves me to the bone. The first time I saw a human skull was in the house of a prominent archaeologist rapanui called Sonia Haoa. I was 8 years old, was our neighbor and every summer we brought a pineapple from Easter Island. For me your house is an unforgettable memory. I was scared and found it beautiful, and now my house is full of bones, stones, branches, fungi, animal skulls, fossils, each a treasure. That love for archeology, knowing the value of a clay bowl, an arrowhead, a textile, has helped me to appreciate the different cultures that originated in Chile, which are kept alive despite all the abuses. P>

I am a fan of Hayao Miyazaki's Chihiro Journey, a film that the director filmed without a script, letting it grow organically. I lived for a time in Barcelona, ​​where I had my own journey of transformation, and there I saw it at least five times. I love that dream environment, where the characters mutate and cohabit with gods and strange beings, where the bad ones are good and the good ones are bad. You feel the depth, the rarity of the world of dreams, it is a mental landscape so rich that you can not digest the first, but it goes deeper every time you see it. This plurality and complexity seem to me two fundamental aspects to which all art must aspire.

Michael Reedy's illustrations simply blow my head. He has a wonderful technique. I love your palette, the symbols that surround the central figures, it is really powerful.

If I had to choose a work as the best, I would choose the hand, which is called Constructual 5. It is not very large, But with few elements manages to express much. It is the right hand, the hand that makes, the active hand. The arteries are embroidered in red and bring you closer to the living and the dead.

At the moment I am drawing and embroidering for my individual exhibition, in October in gallery Madhaus. One thing I've learned from embroidery is that I have to sit down and do things. I am convinced that if the job is going well it is going to take its own course, so I will just take it.

One question that I would love to be able to answer is: what is there after death ?