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Livia Marín - Brocken Things
Artist Biography: Livia Marin is a contemporary Chilean artist, born in 1973, who currently resides and works in London. Her work focuses on exploring themes related to identity, memory, and transformation. Through her work, Marin has demonstrated an ability to transform everyday objects into intriguing and provocative works of art. Marin is known for her "Nomad Patterns" series, in which she transforms ceramic plates into sculptures that appear to melt. Each plate is transformed into a unique and surreal piece, in which the molten ceramics take on a new shape and texture. In addition, his "Broken Things" series explores the beauty of broken objects and their ability to tell stories. In this series, Marin collects broken objects and turns them into works of art, in which the breakage becomes an integral part of the piece.
Livia Marín is a Chilean artist based in London. Her work has been characterized by her large-scale installations and the appropriation of massive commercial products. Her work initially started from the social and political context of Chile in the nineties, which was changing from an openly disciplinary regime, after seventeen years of dictatorship, to an economic regime, no less disciplinary for this reason, with a strongly neo-liberal agenda. Marín employs techniques and strategies that are characteristic of sculpture, installation and process art. He uses everyday objects to observe the nature of our behavior around objects in an age dominated by mass production, standardization and global circulation. By appropriating objects, her work seeks to offer a reflection on how we individualize our relationship with them. She reflects on how in a materialistic and non-religious society, identities are designated through material goods derived from consumerism. This significant, but sometimes ignored, aspect of contemporary life forms the perimeter of her practice. Central to her work is the relationship between art and the object of consumption that works to reverse an over-familiarization, engendered by the everyday and under the dictates of the market. Rather than focusing on the marketed object of desire, her work focuses on what she has called the 'afterlife' of objects in the domestic space. Marín has exhibited her work both in Chile and internationally.
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