Ariana Macedo
Bio
Born in Lima, 1976. Graduate in Art with a major in Painting from the Pontificia Universidad Católica del Perú and with completed studies in the specialty of education, also at the same university. Likewise, he took courses on the integration of the arts and management of cultural projects in various centers.
Since 2001 to date, she has participated in various group exhibitions in Peru and abroad, the most recent being "Parallel Maternities" in Augusta Espacio, Cusco. "Memory made Offering" at the Place of Memory, Tolerance and Social Inclusion, LUM - Lima, Perú. "Des-pro-tejidas" at Lastcrit Gallery, Barcelona. Spain, "Fantastic Imaginaries" at the Universidad Nacional Mayor de San Marcos, among others. Likewise, his last individual exhibition, "The table is served", was presented at the Cultural Center of the Universidad San Agustín de Arequipa.
Currently participating in the Contemporary Textile Art Biennial, Guimaraes – Portugal. Winner of 1st place in the XIV National Painting Competition BCRP 2023, she has been selected as a finalist in the ICPNA Contemporary Art Award 2024, 2021, XII National Painting Competition BCRP 2021, semi-finalist in the 4th Two Generations Drawing Competition, Británico Cultural Consecrated Artists category 2021, XIII BCRP National Painting Competition 2022 and XXV Sculpture Competition IPAE Award for Business 2023.
Statement
My work focuses on the everyday experience of mothering, from the perspective of those who are dedicated to care, facing stereotypes of roles that are naturalized and, therefore, silenced.
Using weaving, sewing and embroidery, my pieces reconnect with the feminine traditions of my maternal family, with the intention of revaluing and rediscovering the ancestral dimension of weaving in women.
Along these lines, my pieces rework those elements that are part of our common use as women (hygienic towel, nursing bra, underwear, etc.) or that are assigned to us in relation to care (kitchen utensils, cleaning, etc.), becoming territory, body and memory, directing the gaze towards the domestic to make roles visible and vent silences. They are a kind of objects of use that cannot be used, a way of turning, certainly tender and laborious, into useless what represents us as women.
