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Patricia Iglesias Scepanaovic

Punta Arenas, Chile.

Contemporary jeweler from the city of Punta Arenas. She trained in Technical Drawing and Interior Design. She has taken Diplomas in Visual Arts and Higher Education. For a long time she dedicated herself to Furniture Design, furniture restoration, decorative painting and teaching subjects of creation of Didactic Material. At the same time, she continues her search for a means of expression, venturing into drawing, painting and ceramics, until 2015 when she arrives to jewelry where she manages to create her own language of visual expression through abstraction and synthesis of natural forms, making pieces with local identity. In 2017 she was awarded a creation project with National Funds for the Arts, Culture and Heritage, and it was when she discovered that she could be linked to Contemporary Jewelry as a means of expression, becoming the pulse to reflect and express what moves her. During 2018, she approached to the use of textile materials and experimenting with weaving techniques, adopting the construction of wefts as her language, allowing her to carry out here work outside of Punta Arenas.

She has participated in exhibitions in Chile, Argentina, Brazil, Spain, Germany and Poland. She has been a member of Joya Brava since 2018 and a member of the artistic platform La Brújula Arte en Tránsito.

I work with my surroundings and my own history, focusing on materiality as both a narrative and conceptual tool. I use a variety of antagonistic and sensitive materials to reflect on themes that inspire me: pain, impermanence, memory, territory, nature and identity.

In my creative process, I use techniques that have traditionally been associated with the feminine sphere within the domestic space, such as crochet, embroidery and sewing. These techniques are mostly invented from my imagination and memories of family and cultural experiences, such as the basket weaving of the Yagán and Kaweskar peoples. In doing so, I evoke that "handmade" world, which has ancestral roots and which, unfortunately, is gradually disappearing in an increasingly industrialised and globalised society.

One of the central ideas I explore is the notion of bodily memory, understanding that the body holds our deepest experiences. In my practice, the process of elaboration is deliberately slow, intuitive and meditative, almost ritualistic. Through the deconstruction of the concept of domestic and ancestral weaving, I create objects that establish a connection with the body and the experiences it holds, thus exploring the interrelationship between materiality and body memory".

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