Unexpected Encounter With Palermo in the Lost City of Huayuri Painting

I was born in an old, large house with high ceilings and eleven rooms in the city of Lima. There my parents lived with my seven brothers. The smell of the good seasoning of the dishes prepared by my mother and the smell of oil, water, terpentine are mixed in my memory. In one of the spaces my dad had his desk, his books, his materials and his easel: he was a painter and his subject was the portrait. With the still lifes that our father put together, my relationship with art began. My father read a lot and knew the history of art very well, his stories, his anecdotes were always fuelling my curiosity to see other worlds, relate to other cultures and see live the works of the great masters. That's how I came to Germany with the illusion of studying at an art school and visiting the great museums. For two years I visited the Städelsches Art Institute in Frankfurt, Germany. In that city I met my husband, who continues to accompany me in this beautiful adventure and I brought my best creation to the world: Rainer and Silke, my children. I returned to my studies at the National School of Fine Arts in Lima and I was fortunate to have as a teacher the artist Miguel Angel Cuadros who not only knew how to teach the different pictorial techniques but also knew how to transmit the principles that the artist must have before his work and his audience My husband worked in development projects and for that reason I have been in different countries in Latin America, always having as a place of residence the city of Berlin. This experience has enriched me as a person and influenced my work. At the University of the Arts in Berlin I did a master's degree. The study was aimed at cultural work with young people and children. Feeling the nostalgia of living far from Peru and knowing the difficult situation that was lived in the era of terrorism, my first works were figurative with a strong social burden and denunciation. The pre-Hispanic cultures were always my fascination and I have dedicated many works dealing with these issues, concrete case El Pallar (Lima Bean). An image that has an important presence in the iconography of pre-Hispanic cultures. Without realizing, the human figure was disappearing from my canvas to make way for the space of the deserts. The desert occupies a considerable part of the Peruvian territory and was the cradle of important pre-Hispanic cultures; with this topic I have been working the last twenty years.