Today we’d like to introduce you to Elisa De La Torre
Elisa, we appreciate you taking the time to share your story with us today. Where does your story begin?
As a child I used to spend any spare moment I had drawing and painting. I loved the feeling of being able to create my own little world. I lived in the countryside, so everything around me was inspiring and the idea of being able to draw something that resembled real life was exhilarating. It all happened so naturally; suddenly I was older and I went to art school because nothing else felt right. I even got a PhD while exploring and developing my art and got to create a personal media based on fluid mineral crystallized paint and 22k gold.
We all face challenges, but looking back would you describe it as a relatively smooth road?
Definetely not a smooth road. Even though art is a beautiful journey it does have a lot of ups and downs. Moments when you don’t feel creative, not finding a good enough gallery or going through financial struggles. No one teaches you most of it so you mostly have to learn the had way.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
My work starts from an interest in the orography of nature and its memory, transforming fluid painting into organic textures through a complex mineral and chemical process.
These are works that are not a representation of nature but a literal piece of a sensory memory which becomes a continuous experience that leads to a specific place and time. Its sensory impact connects poetically with the impressions of memory since memories are based on sensations, shapes and colors.
There’s an exploration of landscape through an abstraccion process. Aerial views and fractal forms arouse a very familiar sensation in the viewer, like a memory refering to specific places. This turns abstract painting into projected personal landscapes.
By emulating the randomness of nature, fluid paint works the magic of the unexpected. It is a game with the free will of painting, knowing the material, discovering the reactions and their possibilities.
It’s a process without haste, where time plays an essential role: intuitive creation slowly explores color relationships and their fusions while it takes drying time in which crystallization becomes a constellation of tiny minerals.
Crystallized painting has a wealth of subtle glitters and delicate textures that require the viewer’s attentive contemplation, and this also requires time. There is beauty in the unnoticed, in the small detail, the insignificant and momentary glow, absolutely dependent on light. There is something unique about the way things take time; the beauty of slowness.
My interest in the beauty of organic imperfection is based on the fact that the fractures of the painting find a similarity with the broken of our own nature, fragile and at the same time beautiful.
This is how I got interested in the kintsugi technique. It applies gold to the cracks, accepting the scars as part of the history of an object, and knowing they are beautiful for it. Fillng the cracks of my paintings with 22k gold paint accents the value of the magnificence and perfection of the imperfect.
What quality or characteristic do you feel is most important to your success?
I feel perseverance is the most important quality any creator should have. Oftentimes we get disheartened by so many hardships along the way, those who don’t give up are the ones who get there.
Pricing:
- signature value 12.59 ¢/cm2
- accumulated value 16.45 %
Contact Info:
- Website: https://www.elisadelatorre.com
- Instagram: https://www.instagram.com/elisadltl/
Image Credits
Elisa de la Torre