Saskia Calderón (Quito, Ecuador, 1981)
Lives and Works in Quito. She studied Fine Arts at the Colegio de Artes Plásticas Quito, Ecuador, 1997, specializing in painting, holds a Bachelor of Arts degree with mention in engraving and painting from the Universidad Central del Ecuador, 2003 and is a Specialist / Expert in the technique of Lyrical Singing from the Conservatorio Nacional de Música Ecuador, 2011. Since 2003, she has accomplished performance art, fusing lyrical singing with visual art, as well as exploring Contemporary / Sound Art, installations, sculpture and video. Saskia obtained first prize at the Bienal de Cuenca, 2014, and an honorable mention at the Bienal de Escultura, Imbabura, Ecuador 2006, amongst other distinctions. She participated in the “Limoncito” Solo con Natura residency in Guayaquil, Ecuador, 2008 and “Pensar la praxis, la plástica Latinoamericana y ejercicios neo-revolucionarios” Sector Reforma, Guadalajara, Mexico, 2015. She has presented her Works in shows such as: La Rabia Fundadora, 2º Encuentro Nacional de Performance, Lima, 2013; Las ciudades Invisibles, Museo de Arte Contemporáneo, Santiago de Chile, 2012; La ciudad es un avispero de ruidos, Museo de Arte Contemporáneo de Niteroi, Brasil 2011; XI Bienal de Cuenca, 2011; Quito en Zaragoza, España 2010; Los Recursos y el Método, Centro Cultural de España, Guatemala 2009; Festival Alucine Media Fest., Toronto, Canadá 2009; VII Bienal SIART, La Paz, Bolivia 2007.
Due to my academic formation in the Plastic Arts, painting, engraving, and
music, lyrical singing intertwines these disciplines to develop live art. I also explore art installations, sculpture, video performance, and Contemporary / Sound Art with the objective of transforming the imagination into memory. In my artistic practice, I am currently working on visual translations, exploring sound possibilities, as the visual respresentation of my study, thru sound.
I re-work Westernized music, bound together with my nature to reflect upon a fading identity and demonstrate the cultural implications between ancestral and occidental works. I recover the ancestral knowledge and reconstruct the practices which are close to being forgotten. I am also interested in re-interpreting popular traditions, rooted to specific situations of an immediate scene. I analyze spaces and their memories, contexts, and difficulties. I find art to be a mecanism to activate the audience’s reflexive thought about the destruction of the eco-system and the delicate theme of ethnic reservations. I utilize my body and music as a narrative tool to merge socio-environmental and ethno-cultural subjects.