Livia Marín - Brocken Things
Biografía del Artista: Livia Marin is a contemporary Chilean artist, born in 1973, currently living and working in London. Her work focuses on exploring themes related to identity, memory and transformation. Through her work, Marin has demonstrated an ability to transform everyday objects into intriguing and provocative works of art. Marin is known for her series “Nomad Patterns”, in which she transforms ceramic plates into sculptures that appear to melt. Each plate is transformed into a unique and surreal piece, in which the molten ceramic takes on a new form and texture. Additionally, her series “Broken Things” explores the beauty of broken objects and their ability to tell stories. In this series, Marin collects broken objects and turns them into works of art, in which the brokenness becomes an integral part of the piece.
Livia Marín is a Chilean artist based in London. Her work has been characterized by large-scale installations and the appropriation of mass-market products. His work was initially based on the social and political context of Chile in the nineties, which was going from being an openly disciplinary regime, after seventeen years of dictatorship, to an economic regime, no less disciplinary, with a strongly neo-liberal agenda. Marín employs techniques and strategies that are characteristic of sculpture, installation and process art. She uses everyday objects to observe the nature of our behavior around objects, in an age dominated by mass production, standardization and global circulation. By appropriating objects, her work seeks to offer a reflection on how we individualize our relationship with them. She reflects on how in a materialistic and non-religious society, identities are designated through material goods derived from consumerism. This significant, but sometimes ignored, aspect of contemporary life forms the perimeter of her practice. Central to her work is the relationship between art and the object of consumption that works to reverse an over-familiarisation engendered by everyday life and the dictates of the market. Rather than focusing on the commercialised object of desire, her work focuses on what she has called the 'afterlife' of objects in the domestic space. Marín has exhibited his work both in Chile and internationally.
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