Obra Plástica Lila Díaz

Interrogación

Interrogación (25 x 20 x 8 escultura en madera y agata)

Flauta dulce

Flauta dulce (4 x 30 x 3 escultura en madera y gemas de vidrio)

Lila Díaz, (Santiago de Chile, 1975) is a poet and a visual artist. She studied design in Chile and sculpture at the School of Visual Arts in New York.
Her artistic work has always combined poetry with visual arts, as in the audiovisual poem "Géneros" (1996), shown in the Costa Rica Short Film Festival and the Santiago International Book Fair.
In 1997 she was granted a Creative Writing Fellowship for the Pablo Neruda Poetry Workshop. Since then she has published two poetry books: "Cacería" (Editorial RIL, 1999) and "Léxico Fuego" (Editorial del Temple, 2001).
During the year 2001, her work in glass was exhibited in various cultural settings in Chile, such as the Pablo Neruda Foundation, the Diego Portales University and in the Goethe Institut (German Institute of Culture).
Lila Díaz uses the glass in a way that recovers the artist’s window, the point of view where colors and words weave what seems to be a web that conceals and unveils at the same time. The threads of copper, wood and lead are interlaced with South American stones, such as agate and combarbalita, in a language similar to poetry, but in glass is known by the word transparency.
There’s a genetic reference that can be traced in her work. An imaginary spiral cord that relates the eye to the skin, a stone, a fossil or a kaleidoscopic trap set by the colors on a bird’s feather, or maybe a butterfly displayed in the insectarium’s glass case. Her work is a footprint, a tunnel towards the subconscious.

Primera materia

Primera materia (30 x 60 fierro, vidrio y estaño)

Catálogo exposición Universidad Diego Portales

Naturaleza con féretros

Naturaleza con Féretros (36 x 50 acero, barras de vidrio y semillas americanas)

Señuelo en ocre

Señuelo en ocre (100 x 60 vidrio, estaño, conchas y agata)

Señuelo en azul

Señuelo en azul (85 x 40 vidrio, estaño, agata y conchas marinas)

Fuga-dos

Fuga-dos (70 x 45 vidrio, alambre y estaño)

Alquimia

Alquimia (30 x 60 plomo, vidrio y estaño)

Telar

Telar (120 x 70 vidrio, alambre, estaño y canicas)

Ascención al olvido

Ascención al olvido (10 x 100 vidrio y estaño)

Conector

Conector (35 x 50 vidrio, agata y conchas)

Araña

Araña (28 x 35 espejo, estaño y vidrio soplado)

Constelación

Constelación 150 x 70 vidrio y estaño)

Lágrima de cuarzo

Lágrima de cuarzo (25 x 100 espejo, estaño, vidrio y cuarzo)

Espejo lunar

Espejo lunar(25 x 100 espejo, agata, estaño y piedra luna)

Ambar

Ambar(50 x 50 vidrio, estaño, acido y fosil amonite)

Tensión

Tensión (100 x 30 vidrio y estaño)

Circo

Circo (49 x 47, vidrio, alambre y piedra luna)

El extraño recorrido de las lágrimas

El extraño recorrido de las lágrimas (12 x 20, vidrio, canicas y plomo)

Catálogo exposición Fundación Pablo Neruda

Colmena

Colmena (100 x 100, vidrio, gemas y estaño)

Yucatán

Yucatán (40 x 18, vidrio, plomo y ágata)

Insectario

Insectario (31 x 13, vidrio y plomo)

Fuga

Fuga (120 x 150, alambre y gemas)

Copa rota

Copa rota (25 x 30, vidrio y estaño)

Recorrido

Statement of Practice.

A description of my work would be abstract sculpture in mixed media. The materials used are metal, stones, glass and perhaps my own poetry. My writing is linked intimately to my art. Although independent, there are constant references to each other.
My work tries to use glass as a window, in other words, the point of view where the creative process starts: observation. The lines of my poetry become lines in a composition shaped by lead, copper, wood and stones. Together with the transparency of colors, they weave a web that conceals and unveils at the same time the three dimensional nature of the work. Some perspectives show depth, volume and from another angle, they are just a two dimensional composition. The threads of copper, wood and lead are interlaced with South American stones, such as agate and combarbalita, just like in the language of poetry, where reference to genetic or historical origins can be traced. An imaginary spiral cord that links the eye to what the skin is able to see, in the texture or temperature of a stone, a fossil or a kaleidoscopic trap set by the colors on a bird’s feather, or maybe a butterfly displayed in the insectarium’s glass case.
The relation between my work and space is not only through volume, it also by sound. The beat and rhythm of words are imitated by vibrating wires with objects fused in glass and metal. When hung from a wall any disturbance in the room makes them clink and clank. This is the latest line of exploration in which I am involved.

Recorrido (12 x 150, vidrio y estaño)