Your name
Paula Isabel Carmona Araya
Place of birth
Iquique, Chile.
Place where you live now
Santiago, Chile.
3 words to describe you
critical, sensitive and analytical
Why do you take pictures?
Because it is the best support to show the actions I perform.
Where do you get your inspiration?
Of everyday experiences, which I think critically in relation to capitalism.
Who are your influences?
Very varied visual artists, such as: Esther Ferrer, Vito Aconcci, Sophie Calle, Luis Pazos, etc. But above all political and poetic situations
What determines the subject matter you choose?
The urgency of the moment, a problem that I seek to formulate through artistic action
What impact would you like your art to have?
I would like it to be read as a proposal for the world at a collective level, which generates meaning and contributes to thinking about a better life
What artwork do you never get bored with?
Obrabierta by Hernán Parada
Is there anything you want to add?
I understand the image as a doing, that is what differentiates it from the word. Hence the actions photographed.

Gesture and Lanscape
Project statement:

I think of visuality, and therefore my work, as an artistic and political problem, both concepts being inherent to each other, but in constant tension. It’s in the dialectic relationship where the limits are blurred and reformulated as a strategy from the artistic work.

The actions are a proposal, an insistence, an emotional and material project towards the future. Under this premise is that the images are revealed as gestures with a high symbolic and conceptual content. Although they are apparently ephemeral and simple actions, they maintain a reflective and critical intention that gives room for experience. This experiential character is the link that is established as a possibility to read and understand the world in a different way. Through the expository value, a common sensibility is revealed, a collectivity that doesn’t conform to the pre-established.

It is through the body and its traces that the urgency and persistence to change everything, to break the formality and conventionality of the explicitly political, and to involve the head, the neck, the hands, the feet, every space in between, the body as all bodies, in a poetics of verbs verifiable by the action of moving and inhabiting in a different way, becomes present.

See more by Paula Carmona Araya in A Visual Dialogue in issue #6 and in collab:co-op in issue #9

@paulacarmonaaraya