We caught up with the brilliant and insightful Mariana Noreña G. a few weeks ago and have shared our conversation below.

Alright, Mariana thanks for taking the time to share your stories and insights with us today. Did you always know you wanted to pursue a creative or artistic career? When did you first know?

When did you first know you wanted to pursue a creative / artistic path professionally?

I remember, when I was a little girl, my mother would take me to her room and show me a painting she had on the back of her bed. It was the drawing of a vase that, with expressive strokes, simulated the petals of daisies. She explained to me how unpredictable and beautiful those strokes were, even if they were not perfect. Although I have not stopped being a perfectionist and I still obsess over details, I have learned to appreciate how beautiful the unpredictable and spontaneous can be.

As I grew older, my interest in detail and texture became more evident in my artwork. Initially, I started as a naturalist artist capturing with verisimilitude the details of what I saw. However, my work evolved into more abstract forms as my fascination with details and textures deepened. Then, I began experimenting with different materials and approached textile art. In these experiments I discovered that I could create art from nature, allowing me to make room for the unpredictable and spontaneous in my creative process.

Part of my connection to the art world is also due to the influence of my family. My mother is a designer and my paternal grandmother was a painter. Although I have always been a person of few words, I have found art to be a meaningful form of expression. A way to be with myself, to process thoughts, to observe, and to invite others to join me.

I grew up surrounded by nature, with my feet muddy in the damp earth and my hands picking plants from the ground. This deep connection to nature has been a fundamental element in my art practice. My work is based on the spiritual connections and intimate relationships I establish with the space, nature, and landscape around me. I experiment with plants and natural materials in response to these sensations, as a diary of emotions, thoughts, and personal connections to create my own here and now.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I am a multidisciplinary artist from Bogotá, Colombia, currently living in Chicago, IL. I hold dual bachelor’s degrees in Design and Fine Arts with an emphasis in Painting and Drawing from La Universidad de Los Andes (Bogotá, Colombia). I just finished my Master of Fine Arts in the Fiber and Material Studies department at the School of Art Institute of Chicago.

My practice is grounded in the contemplation of the fluctuations between my body and my surroundings. I use my body as a vessel to materialize intimate environments, a vessel through which emotions can travel and materialize into new shapes, installations, paintings, and textiles. I constantly think of the landscape as an anatomical body that feels and has gestures. I superimpose my own gestures on those of the landscape and create “personal landscapes” that interweave subtle stories of emotional flux and natural phenomena. I use natural dyes and materials: wood, coffee, linen, and other plants of endemic significance to the places I work with. These are often used metonymically: in Untitled (Eastern Hills), dye made from the rosemary growing in my garden serves as the pigment to represent the mountains surrounding it. Here, the use of rosemary dye is part of a semantic of my relationship to a particular landscape, while also standing in for the territory itself. Because organic materials change over time, the pieces are—like myself, my emotions, and nature—in constant flux.

My work is the result of an intense exploration of materiality and formalist composition, fostered by attunement to my senses and close attention to the things that surround me. Isolation and slow mindful contemplation are necessary parts of my process. I aim, however, to create an accessible experience into these subtle territories, which speak of the collective creation of what makes a space feel like a place, therefore surpassing the colonial tradition of landscape representation through individual and romanticized contemplation. My work also uses sculpture and installation to facilitate an embodied experience into these territories. My most recent piece, The House that Lives Within Me (2023), is a large-scale installation that proposes an immersion into my own story of moving from Colombia to the USA. It uses soil from my hometown Bogotá, water from Chicago’s Lake Michigan, and dry corn husks as the plant species that symbolically unites both regions. My pieces look to heighten appreciation for natural environments and to open the senses in a site-responsive way: my processes are constantly shifting to accommodate any new environments I find myself in.

For you, what’s the most rewarding aspect of being a creative?

I have often wondered why I continue to make art and I think this is due to several reasons.

First of all, the day-to-day is never monotonous, each day is different from the previous one, as there is no formalized routine. Although there are processes that can become mechanical, they are far from boring. Each new space, project, or series of work is something new. This requires discipline and organization, which in turn contributes to a greater understanding of self. But it also encourages community involvement where you will collaborate, share, and develop new skills while also contributing to your personal and professional growth.

I find my artistic practice rewarding because it involves constant observation and contemplation of the details around me, as well as opening my senses to the search for inspiration and sensations. This has allowed me to discover wonder in small details and to experience moments of tranquility and meditation. In the world we live in, developing a practice that emerges from a quiet place is a privilege.

I also believe that artists are reflections of culture and that we function as agents of change. Through our work, we raise questions about our environment and propose new perspectives.

How can we best help foster a strong, supportive environment for artists and creatives?

It is crucial to offer funding opportunities, scholarships and grants to artists and creative projects. This financial support can help artists sustain their work and invest in their creative pursuits. Governments, private organizations, and donors can play an important role in this regard. Providing affordable and accessible education and training in the arts is also vital. This enables people from diverse backgrounds to develop their talents and creative skills. Schools, community centers and online resources can contribute to this effort. I believe it is critical to encourage diversity in the arts and support artists with different cultural, identity and gender backgrounds.
Promoting the work of artists and creatives through exhibitions, galleries, and platforms helps to bring their creations to a wider audience. This also includes encouraging people to actively engage with art and provide constructive feedback fosters a creative ecosystem. Art should be understood as a dialogue between the artist and the public. When going to a gallery take the time to understand each idea and process behind the works. And if it is out of reach to take a piece, sharing and talking about what you think of their art with the artist contributes a lot to their creative process.

Contact Info:

• Instagram: https://www.instagram.com/mariana.norena.g/