Even though Geraldina Ahumada showed abilities to make art since she was 15 –at that age she won the Feria del Mundo Joven–, her professional life took her away from the discipline that will later transform her life: “It was a necessity to go back to art and now is like a must do thing I can’t elude”, claims the artists, while she observes some of the sculptures that came out of her unconscious at her workshop located in Ñuñoa. Televisions, microphones, and other gadgets concerning communication are restructured by the artist using stoneware.
About the materials, Geraldina prefers to use stoneware. Stoneware malleability matched perfectly with the intuitive intellect of the artist. While her work was getting more mature, she started to experiment with acrylic, lights, and parts of machines on her work, which allowed her to express the tacit message she wanted to show with a renewed power.
Although she values the reception that has had the audience upon her exhibitions, Geraldina Ahumada believes that the most important thing is to externalize the ideas that stalk her mind. “It is actually the personal stuff what you have to say, if someone liked it, good, but it isn’t important at all; it is worst, your ego gets bigger and you stray from your way”, she argues.
The untold is represented as the cohesive core that explores the artist in her work: “Currently, the objects I make correspond to a theme related to not being able to express yourself, about the existence of a counterparty that don’t really listen to you”, explains the sculptor, who more than thinking intentionally about the artistic object, is carried along by free impulses of the subconscious. From then is when art pieces come up.
However, it can’t be said that this process comes up by chance. The narrative treated by Geraldine has a concrete referent: “I lived in 1185 José Domingo Cañas. I would go to a good school in a good neighborhood, I was happy, I had a beautiful house, I would walk to the stadium. That was the visible stuff. The invisible was that I used to walk by two houses that were torture centers (one belonged to the CNI, the other was the stadium), a concentration camp; but no one would talk about that. Back then, it was when the theme of not being able to speak started.”
Impotence, silence, appearances: concepts that come from the expressive language forged by the artist. How the visible and the invisible meet, how the tales of the everyday and the hidden coexists in a quiet and cooperative way at the same time. “In front of my house, where I used to hear the screams, there is no record about that. My voice isn’t the voice of the ones who died, is the voice of the ones who were there and couldn’t do anything. The voice of the one who listened and dissociate themselves; that story has to be told”, says the artist.
This way, Geraldina Ahumada’s art starts from the abstraction present in the subconscious to penetrate into the concrete world of silence and impotency. Stories that weren’t told that, apparently, were sublimated through omission; all them narratives that the sculptor brings to materiality hoping they will help to heal and overcome the sins that identify the past.