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*1981 in Santiago, Chile/ žije a pracuje ve Valencii, E/ www.entrelaspiedras.cl

vzdělaní/rezidence
2007-2008/ Master degree in Public Art, Universidad Politécnica de Valencia, Valencia, España 2008/ workshop with Isidoro Valcárcel Medina (National Art prize Spain, 2007), Valencia, Spain //2007/ Workshop Atacama Lab 2007 with the Austin Texas University, Valencia, Spain //2006/ Workshop with Argentinean artist Tomás Saraceno //2000-2004/ Graduate in Fine Arts studies, Universidad Católica de Chile, Santiago, Chile.

samostatné výstavy
2005/ Surface,  Galeria Metropolitana, Santiago, Chile; Empty spaces, BECH Gallery, Santiago, Chile.

                  

      
foto: Pavla Ortová a Tomáš Souček
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Nicolás Sánchez`s statement

If I had to isolate a connecting thread which motivates my work, this would be under any doubt, the notion of search, not only as a metaphoric sense (because every artwork seeks something) but also literal; if I should find an adjective that defines it, I think this would be its romantic nature, because of the search itself and because of its sensible and melancholic approach to other ways of living. The challenge that a residence raises
-moreover a micro residence- is to discover a specific root that links the own work to the fleeting inhabited place, therefore that my search perfectly accommodates to this dynamic of production. On another hand, the romantic component, that takes a lot of past –but clearly not forgotten- historic sensibilities (specially eighteenth century romanticism), updates in somewhat post apocalyptic and hopeless way -only with a slight appearance of hope based on the forced conformism of “that’s all there is”, using it for its enjoy while this lasts- in a city in which redeeming and messianic utopias from the past and from the present survives only on its own unreliable promises.  
With these ideas as guidelines I imagined Wild rose hip jam (slow food), beginning from a childhood memory aroused from the wild rose hip fruit -very common in the south of Chile and of wild presence on Prague’s surroundings- in which I saw myself alongside my mother and grandmother cooking jam obtained from this bush, emerges the attempt, or more exactly the pretext, to rescue forgotten memories, to claim other velocities and to try to learn and seize art, life. To remember old recipes, to recall ancient rituals, to build prehistoric machineries, harvest, recollect, and cook for sharing, are actions that look to recuperate other lost ways of relating with others and the environment, in the city that we attempt to inhabit. These are everyday acts that, in its exaltation, look for showing other dynamics of possible exchange, discovering other times, illuminating new alternatives that allow living and understanding what surrounds us in richest and more diverse ways. 
My work settles from this daily basis, beyond a vision of art as aim itself, as a self-sufficient artwork for contemplation, preferring to rescue a common gesture as an experience, as a way of designation. In other words, the result is only the pretext for talking about lost memories, of certain urban situations, of the necessity of other spaces and times for exchange and social links. Therefore, the free and conscious exercise of a creative and disinterested act, intends to act as a catalyst for showing others a work from which its own desire can arise; maybe a gullible pretension, but of powerful metaphoric resonances that insists in the necessity of claiming and recovering other ways of living.

Nicolás Sánchez
Valencia, October 2008

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