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ince Cecilia is four until she is twenty-seven years
old, the dance comes to be in the core of her life and simultaneously she
maintains sporadic romances with Painting, Theater and Literature. In the
search of a more tangible art she looks after the painting coming to be at
the present day her great love. At the beginning of this engagement,
things happened in a rather playful and innocent way, all which is
completely demonstrated in her Naďf works, in which she experiences with
techniques and colours that allude directly to
her Scandinavian ancestors.
Entering into a more
mature stage, she works the oil, instance that provides her the stability
and the so much yearned pattern of expression, which allows her to be able
to represent properly the legends, the myths and the dreams that nest in
her mind and her soul.
Cecilia was born in La Reina (Santiago, Chile) in 1950, a key day that
makes the beginning of transcendental changes in our country... the 4th of
September. In the same way her passage through
the world has been subject to changes and diverse variants of cyclical
character, all of them linked to the most sublime manifestation of her
spirit: The Art.
At the age of two she begins to recreate in her own flesh the history of
her mother, who was prima donna in the National Ballet of Santiago. Since
she is four until she is twenty-seven years old, the dance comes to be in
the core of her life and simultaneously she maintains sporadic romances
with Painting, Theater and Literature.
Delighted with the stages, she explores all of their dimensions, starting
from the back-stage, all through to the border-stage, arriving to direct
plays in her school and being a moving body of expression within ICTUS
company of actors.
Her artistic and humanist vein grows day by day, in contrast to the
mathematics, forced hours of class she takes advantage to the maximum to
explore the world of the painting. By that time she already was
distinguished for being teacher of her classmates, condition that endured,
arriving to be professor of many children and teenagers. Cecilia urges
them to fight for their autonomy of criterion and expression, using
creativity as the main weapon.
Within her evolution in the dance, she begins to notice its ephemeral
character, and, deeply affected by the death of her paradigm and cult
leader, Nureyev, she decides that the hour has arrived to untie herself
from the world of the dance, at least partially. Closing this cycle, her
spirit persists in the search of a more tangible art and retakes her flirt
with the painting, coming it to be at the present day her great love. At
the beginning of this engagement, things happened in a rather playful and
innocent way, all which is completely demonstrated in her Naďf works, in
which she experiences with techniques and colours
that allude directly to her Scandinavian ancestors.
Entering into a more mature stage, she works the oil, instance that
provides her the stability and the so much yearned pattern of expression,
which allows her to be able to represent properly the legends, the myths
and the dreams that nest in her mind and her blood. |
Chilean
