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Liliana Ojeda Legües

Santiago, Chile.

Has a Bachelor of Arts from the PUC, mention in Sculpture (1998), she obtained a Master in Jewelery from the UCE, Birmingham, United Kingdom (2002) where she specialized in the electroforming technique and was recognized by the British Jewelers Association (BJA).

Founder and Vice-president for five years (2010-2014) of Joya Brava, the first Chilean contemporary jewelery trade association. Recognized among her peers in the field of contemporary art and jewelry, she has represented Chile in numerous international fairs and exhibitions, such as Inhorgenta in Germany, Joya Barcelona in Spain and Legnica Silver Festival in Poland.

She has received several distinctions such as Seal of Excellence for Crafts, Government of Chile (2014). First Honorable Mention at the Puentes Biennial, Latin American Contemporary Jewelry, Buenos Aires (2016). Selected by the A-FAD for Enjoia’t awards, Barcelona (2016). She was recently awarded a National Fondart for his project “Histories of Skin” (2018).


"My work preserves a tendency towards the sculptural volumes of my first training, from that experience, I lean towards jewelry to create intimate works closer to everyday life and the possibility of "carrying" art. I was always inspired by human anatomy and emotions, particularly the body as object and subject of the pieces. My latest series "Histories of Skin" (2018) and "Senile Field" (2019-20), explore metaphors associated with our internal organs and skin, with the desire to humanize the human, focused on the passing of time and disappearance. I use plaster mold techniques as a method of fossilization of forms, to later transfer to materials such as ceramics and porcelain, metal, and derivatives of the plant world, In an attempt to preserve and make visible the hidden beauty of bone structures, both as internal organs, reinventing them as portable objects. Lately I have been interested in working on aspects of the human senile stage, evoking with the works a sweet acceptance of our transformation and eventual disappearing. With my work I want to expand the conventions of what is understood by jewelry, questioning the role of adornment, the nobility of materials, and the notions of portability. In this experimental path, I emphasize the recording of the processes, which for me are as important as the finished work".

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