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Daniela Rivera Arancibia

Santiago, Chile.

She began her professional artistic education at the School of Visual Arts at the University of Chile, specializing in goldsmithing, and later as an Industrial Designer at the Diego Portales University. While pursuing these careers, she simultaneously takes in-depth workshops on silverware, jewelry, art and design among others, in Chile, Mexico City, Taxco and New York.

After completing her thesis project of Industrial Design on Contemporary Jewelry, the results of which were exhibited in Mexico, she joined Joya Brava, entering fully into the artistic production of contemporary jewelry, which prompted her to exhibit in Munich, Bogotá, Légnica and Santiago, while combining her time with various activities related to design and creation in multiple areas. In 2019, she was trained at the Honorato + Vicencio studio where she deepened her knowledge in object creation and developed work of great symbolic depth that plays with the limits of what we know as jewelry and art.


“I was born and raised in a deeply neoliberal country, being a spectator of the individualism and competitiveness that this social economic system cultivates, a situation with which I never felt comfortable. While I was studying, I made contact with Mexican culture and a sense of belonging to a larger collective began to grow in me, a Latin Americanist feeling of identity and belonging, giving meaning from then on to my projects, readings and perspectives. On the other hand, I have been producing pieces with an important sensory aspect that develops in a very instinctive way, from a subjective-emotional perspective far from the rationality with which I have encompassed other types of works.

My work is part of a convergence between these two paths, on the one hand with a deep political and social significance and on the other hand focused on sensitivity and the senses. I think and feel contemporary jewelry in a close relationship with the body, the work is born for a body that inhabits it and communicates in a relationship between body and work, moving away from the naturalization of the jewel as an intentionality of ornament or status”.

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