L’artista Aurora Molina the artist

L’artista Aurora Molina the artist

DECEMBER 20, 2016VOCESNOMADASLEAVE A COMMENT

Aurora Molina describes herself as a fabric artist. You saw her work all through the letter, now we are giving her a space to describe her work in detail, interviewed by guest writer Gabriela Mansur Jimenez

BIO Aurora Molina was born in La Havana, Cuba, in 1984. She emigrated to the United States at the age of sixteen, where she opted to pursue an education in art. Molina received her Associates of Arts in Visual Arts from Miami Dade College, a Bachelors in Fine Arts specializing in Mixed Media from Florida International University and Master Degree in Contemporary Art at the Universidad Europea de Madrid completed in 2009. She currently resides in Miami, Florida, where she works as a full time artist.

How has your work and its purpose changed over the years? I’m much more conscious now about the context and material of the work. Fibers have been an intricate part of my work, but lately since I’m constantly learning the importance of textile and textile techniques from other cultures, when I develop a series of work it is important that I don’t only use it for aesthetic purposes but that that particular techniques informs the idea behind that particular series of work.

¿Cómo han cambiado tu trabajo y su propósito a través de los años? Ahora soy mucho más consciente del contexto y el material del trabajo. Las fibras han sido una parte intrincada de mi trabajo, pero últimamente, debido a que me encuentro aprendiendo constantemente sobre la importancia del textil y de sus técnicas desde otras culturas, cuando desarrollo piezas de trabajo es importante no solo usarlas con propósitos estéticos, sino teniendo en cuentas las técnicas particulares que informan la idea base de dichas piezas particulares de trabajo. What role do you think the artist should have in society? Artists are like magicians – they look for clues and intrigue the audience. Then it is up to the viewer to see the trick or not, but if we understand how the trick works it loses the magic. Art is an equation, you put the parts together and you solve it, then you move on to the next equation. I like to think that we are a blender of ideas and we can choose in each particular way the ingredients to use. Now it is important that the ingredients are fresh, just like what influences the ideas in the work, we need to look at everything that is happening around us, and we have to be subjective to visually talk about it. Art should not be imposed or the idea should not be imposed. I think as artists what we can offer to society is to open a conversation and let everyone interpret it how they want. We are storytellers in the best sense.

¿Cual crees que sea el rol que lxs artistas deben tener en la sociedad? Lxs artistas son como ilusionistas, buscan pistas e intrigan a la audiencia. Después depende de la audiencia si ven el truco o no, pero si entendemos cómo funciona el truco, éste pierde su magia. El arte es una ecuación, unes sus partes y la solucionas, después continúas con la siguiente ecuación. Me gusta pensar que somos una licuadora de ideas y podemos decidir de manera particular qué ingredientes utilizar. Sin embargo es importante que los ingredientes sean frescos, junto con lo que influencia las ideas del trabajo, necesitamos observar todo lo que pasa a nuestro alrededor y debemos ser subjetivas para hablar visualmente sobre esto. El arte no debe ser impuesto o la idea no debe ser impuesta. Creo como artista que lo que podemos ofrecer a la sociedad es abrir una conversación y dejar que cada persona la interprete como quiera. Somos cuentacuentos, en el mejor sentido.

What responsibilities does the artist have in contemporary society? Art should be polysemic, it should let you subjectively experience or think. I think in contemporary society we are so overwhelmed by images and propaganda that art should not play that role. Artists need to talk about the realities that they foresee, with the influence of the past and its history, but with a slightly different point of view as there are years of transitioning definitely changed in human behavior. I think artist do not have a responsibility, on the contrary is that lack of responsibility that let us make work so freely and about anything we want, the real responsibility is of the institutions that create educational platforms and reach out to the community.

¿Qué responsabilidades tienen lxs artistas en la sociedad contemporánea? El arte debe ser polisémico, éste te debe dejar experimentarlo o pensarlo subjetivamente. Pienso que en la sociedad contemporánea estamos abrumadxs con imágenes y publicidad, y el arte no debería jugar este mismo rol. Lxs artistas necesitan hablar sobre las realidades que estxs prevén, con la influencia del pasado y su historia, pero con un punto de vista ligeramente diferente como el resultado de los años de transición que definitivamente han cambiado el comportamiento humano. Pienso que lxs artistas no tienen una responsabilidad, por el contrario es la falta de responsabilidad lo que nos permite trabajar de manera libre y sobre los temas que queremos, la responsabilidad real es de las instituciones que crean plataformas educativas y que tienen influencia en la comunidad. What memorable responses have you had to your work? Recently I worked on a theater box, that portrays all candidates and the president of this electoral year from both political parties. They are hung by strings like marionettes and move through the interaction of the viewer with a motion sensor. It has been great to see the interaction among the audience and the piece, how people recognized them and seemingly start pointing at the different gestures the candidates make deliberatively when they move. I had to make the piece, it was out of necessity that I started to conceptualize it, because of all the fuss around the next presidential election. I started thinking about the piece from my own personal interest and constitutional right to think freely about the candidates, but the best compliment that I got about the work is that it was “bipartisan”, and I felt great that my personal taste for the candidates was not obvious to the viewer and that the piece was very democratic in that sense.

¿Qué respuestas memorables has recibido por tu trabajo? Recientemente he trabajado en un palco, en el cual representan a todos los candidatos y el presidente de este año electoral, de ambos partidos políticos. Se cuelgan de cuerdas como si fueran marionetas y se mueven e interactúan con el espectador con un sensor de movimiento. Ha sido estupendo ver la interacción entre la audiencia y la obra, cómo la gente los reconocía y se daban cuenta de los gestos varios que los candidatos hacen deliberadamente cuando se mueven. Yo tuve que hacer la obra, empecé a conceptualizarla por necesidad, por todo el lío que se había formado debido a las siguientes elecciones presidenciales. Comencé a pensar en la obra desde mi interés personal y mi derecho constitucional a opinar libremente sobre los candidatos, pero el mejor cumplido que he recibido sobre ella es que era “bipartidario”, y me pareció genial que mi gusto personal por los candidatos no resultara obvio a los espectadores y que la obra fuera muy democrática en ese sentido.

Which traditions of womanhood would you like to bring back? My work in general is an attempt to bring back women’s tradition though textile and the great deal of importance this has had in the construction of the gender. When i think about using thread and needle on fabric, it is like using pencil and paper. Just the idea of restoring the thread and its historical connotations makes me feel that i’m not only talking about what i think but also gives voices to many women that just sat and sew and were not able to express themselves without taboos. The use of fabric and the obsessiveness of embroidery defines my work and honors that centuries-old legacy of women weavers and artisans.