It is an installation that connects with the natural elements of the cosmos in a sculptural way. This embodiment is inspired in mythological tails of ancestral gods who were made invisible and their worship stopped or was transformed during colonial times. For many this created a disconnection with the essence of existence. With this installation I draw connections between past and present, exploration and exploitation, rationality and domination, seeking to make people reflect on a different relationship with nature.

I stimulated an emotional relationship with elements of nature through ceramic work. The installation made the public aware of all their senses while engaging with elements of nature, such as the sounds of the sea, the smell of soil and cinnamon, the metaphorical constructions of nature landscapes within the sculptures. The installation creates an association between divinity and nature, because of the way the sculptures were designed and presented in the space. The positioning of sculptures and objects in the 50m2, was inspired in ritualistic processes, such as the ones developed in temples. The entrance of the space had a sculpture containing water , relating to the act of washing our hands before going to pray in some cultures. Also the positioning of the objects and cinnamon on the ground in a sort of circle created an intimate space, where the public had to enter in order to experience the space and interact with their senses. They stayed to meditate, contemplate and share their new insights among them, or with me.

I made new versions of ancestral gods by finding the commonalities and adding to their narratives. While making the sculptures, I imagined some of the pieces as a landscape and as an entity at the same time. This way of working follows an ancestral belief that everything is part of the world but also the world is contained in every small piece. So the cloud is of the sky, but the sky is also within the cloud. This means everything is one. We are part of a big something and that big something is in us.

The Water Spirit is depicted at the first photo after the general foto of the installation. This piece is inspired in mythology and contemporary beliefs around the spirit of natural elements of our cosmos. In many contemporary cultures, such as in the ones of the indigenous peoples of the Amazon Rainforest, water is a living being and counts with a soul. This belief makes people care for water and they avoid doing things that can upset its spirit, this is why they keep it clean and safe for everyone.

This piece is 70 cm long by 50cm wide and 45 cm deep. It is made in white stoneware clay, glazed with turquoise and sienna pigments, and copper oxide.

The spirit of water hanging on the wall, is an object as a representation of a spiritual deity but also a lake landscape. The recipient is the lake, but it also has the form of a drop of water.

Yoruba goddess Yemaya for which I made my own representation, is the goddess of the oceans among descendants of enslaved Yoruba people who survived the transatlantic voyage to the Caribbean and South America. It is believed that she protects the oceans and all souls in the ocean. The fact that there might be a deity within the oceans makes me think how important it must be for this worship to have clean oceans, clean from trash and plastic. This sculpture remind us about this important mission of cleaning the oceans. I made this sculpture with red stoneware clay and glazed it with engobe. And its size is 75 cm high by 47 cm wide in circumference. It is also a container of a sound box (see second picture in the following page), from which sounds of the ocean come from.

The making of Yemaja meant creating a body, but also a landscape within the body. The glazing of Yemaya was a process of imagining the sea, its waves and sounds. This is how I chose the colour of glaze, it's texture, thickness and movement within the skin of the piece.

I was very inspired by the wind and sky elements of our cosmos, and thought many cultures have had a god in the sky, already before Christianity. I made my own version of a god from the sky, cloud with an eye that observe us, using white stoneware clay and glazing it with pigments and engobe. The size is 70 cm high, by around 65 cm of circumference with variations. Inside it contains a sound box and it produces the sound of the wind, which come through the holes at different sides of the sculpture. The sound also produces a vibration in the piece which makes the public want to touch the sculpture, and I encouraged them to do. This piece remind us about the divine sky, the sacred oxygen that surrounds us and the worlds above us where so many unknown realities are contained.

The glazing of the sky god, created a landscape of the sky within the cloud. The two different engobes where placed one above the other. With this I wanted to create a light sky atmosphere. The white pigment engobe was brought very lightly. I did not know what will happen in the kiln. What happened is that the white pigment engobe created sort of small clouds in the skin of the sculpture. This was a finishing touch created without my control, in the kiln.

The round sculpture with feet represents the ancient Inca sun god Wiracocha or Inti .The sculpture is made with red stoneware clay. Measurements are: 50 cm high, by 40 cm wide. Glazed with gold luster and turquoise pigment.

The sun was the main god in the Inca pantheon and it represented life, people still worship the Inti at every June solstice. Nowadays western humanity protects their skin from sunburning, but it is not the sun which is to blame for this unprotected atmosphere. It is actually our lifestyle and air pollution which has broken the protection layers in the atmosphere, stimulating unpredictable changes in the planet climate. See in the photos my representations of a Sun deity and its guardians within the installation. This sculpture has a cartoonish appearance and that is not strange, because i love cartoons. In fact, my sister Cecilia and I have created a cartoon world since we were children, and this contains all the things and people we love. With the glazing of the sun god where I used gold luster on rough chamotte bisque red clay , I made a dialogue with ancestral Inca gold aesthetics.

I made a representation of the ancient Inca Pachamama holy mother earth or Gaia in Europe. It is round, brown, feminine as our collective idea of the earth. It contains a symbol in its face bringing together the animal kingdom in the concept. It is made in red stoneware and glazed with copper engobe, fired at 1260 degrees. It is 45 cm high by 32 cm wide in circumference.

To create another connection with natural elements I also played with actual plants, adding extra longer ceramic air roots to them.

Adding sound to my sculptures was a new step in the way I present installations. I gathered sounds from the internet and made a soundscape for the cloud and Yemaya sculptures. I inserted a bluetooth box in each and reproduced the collected sounds inside the sculptures, creating a new atmosphere, where the public grounded.