Natalia Aros lives and works in Santiago, Chile. She graduated as an artist at Pontificia Universidad Católica de Chile with Evolutionary Psychology, Psychoplastics and Art Therapy studies. She has worked as academic assistant in undergraduate and postgraduate courses taught at the Art School and the Psychology School of Pontificia Universidad Católica de Chile. Her main focus has developed in guiding artwork creation processes at the Artwork Production Studio, guiding degree thesis and developing Psichoplastics sessions. Previous to her art programme, she studied Architecture for two years where she acquired her aesthetics taste and interest for the city, for public space and the inhabitant. Creative processes and symbolic image production are the main interests that give shape to her work. In it, through a process without a preconception of a final result and spontaneous-expressive gestures, she represents mental images related with her immediate day-to-day urban context. Free of doing and undoing images, she manages to symbolize the overlapping fragmentary nature of the human mind and its relationship with emotional experiences occurring at conscious and unconscious levels. The elaboration consists of mixed techniques and materials, mainly implemented in industrial uses reapplied in the urban art aesthetics. In this way, she explores different paths to express emotions, feelings, thoughts and ideas, where paint dripping, at solid colour fields, graphic drawings and fluid forms develop the final composition that reveals the image psyche. Influenced by the Jungian Psychology and by diverse international and local visual artists such as Jean Basquiat, Mark Rothko, Roberto Matta, José Balmes, Willem de Kooning, Robert Rauschenberg and Banksy, among others, her artwork themes refer to urban-psychological landscape: the human being, the city, the walls, the sonic and visual noise, what’s hiding and revealing. Probable metaphors for emotionality generated by mental noise expressed spontaneously, unprejudiced and in a state previous to it’s verbal or visual conception. My work process assimilates the Stream of Consciousness technique. I operate directly onto the base support with the idea of scheme and draft as artwork itself. I don’t use previous planning of any kind to determine the final image configuration. The result is a sort of collage composition where techniques and strategies of drawing, painting and printing organize and merge, conceiving relational nodes of connection and dissolution through the enhancement of the Urban Art theme. Therefore, after an intimate monologue, the image emerges and reveals among anthropomorphic figures, thick brushstrokes, quick elemental streaks, dramatic stains, graphical characters and symbolic forms.
In this way, my research embodies the fragmentary nature of thinking before being organized, and uplifts emotional experiences while they occur in a conscious and unconscious manner, the purpose is to represent “unpolished” feelings throughout a creative process, strongly in influenced by Psychoplastic and Art Therapy Studies. This is my approach for representing how I think the creation of artwork: as a continuous experimentation and learning process, where the making, the unmaking and the remaking are part of a unitary internal discussion that resolves itself while its being built free of prejudice or preconceptions, and that decodes when the complete final image uprises from the deepest site of being.