July 29, 2025 • 59 mins
Step inside the mind and creative world of Catalina Gómez Beuth, an internationally recognized fine artist whose evocative works explore emotion, memory, and the human experience. In this introspective interview, Catalina opens up about her artistic journey, her connection to color, form, and intuition, and how her personal evolution shapes the way she sees and creates. 🎧 Join us as we talk about:
✨ Available on Spotify, Apple Podcasts, Google Podcasts, and YouTube — tune in and discover the soul behind the canvas.
Colombian fine artist, Catalina Gomez Beuth. Catalina says: ‘Through my art I narrate, with brush strokes in people’s faces, each person’s individuality, avoiding the boundaries created by skin color and ethnicity.” She invites the viewer to start a conversation and connect with something deeper to discover the humanity we all share and to feel the raw emotions such as innocence, hopelessness, loneliness, resilience, happiness, determination and more that she portrays in each canvas. Catalina was born in Medellín, Colombia in 1970 to parents Rosita Beuth, a house wife, and Jorge Gomez, a businessman who divorced when she was 17. Catalina has a younger brother and sister. As a child she was constantly drawn to her art which proved her refuge when her family life became challenging. After High School she studied fashion design at the Escuela De Diseño Proyectual (School of Design Proyectual) and further developed her interest for design while studying in Italy. Upon graduating she worked for seven years in her father’s factory, which, she says, was more of a job than a career. However, her true passion has always been painting and she found time to continue her art and begin selling it in Colombia. Catalina met her future husband while on vacation in the US and in 2001 the couple moved to the US where she was able to establish a studio and become a professional artist while raising a family. Catalina lives in Georgia with her husband Jose Pablo Cellario and two children Camilla and Matias.
Catallna’s links:
Website: https://www.catalinagomezbeuthart.com/
Instagram: https://www.instagram.com/catalinagomezbeuthart/
Some of Catalina’s favorite artists:
Suzy Schultz
Lene Kilde
Lita Cabellut
Produced by Hollowell Studios
Follow @theaartpodcast on Instagram
The AART Podcast on YouTube has bonus content not included on the podcast.
Email: theaartpodcast@gmail.com
Become a supporter of this podcast: https://www.spreaker.com/podcast/women-unscripted--4769409/support.
- The emotional layers behind Catalina’s most powerful works
- How she finds meaning and mindfulness in the creative process
- The intersection of culture, identity, and art
- Her path from early inspiration to international exhibitions
- How art can become a tool for healing, reflection, and transformation
✨ Available on Spotify, Apple Podcasts, Google Podcasts, and YouTube — tune in and discover the soul behind the canvas.
Colombian fine artist, Catalina Gomez Beuth. Catalina says: ‘Through my art I narrate, with brush strokes in people’s faces, each person’s individuality, avoiding the boundaries created by skin color and ethnicity.” She invites the viewer to start a conversation and connect with something deeper to discover the humanity we all share and to feel the raw emotions such as innocence, hopelessness, loneliness, resilience, happiness, determination and more that she portrays in each canvas. Catalina was born in Medellín, Colombia in 1970 to parents Rosita Beuth, a house wife, and Jorge Gomez, a businessman who divorced when she was 17. Catalina has a younger brother and sister. As a child she was constantly drawn to her art which proved her refuge when her family life became challenging. After High School she studied fashion design at the Escuela De Diseño Proyectual (School of Design Proyectual) and further developed her interest for design while studying in Italy. Upon graduating she worked for seven years in her father’s factory, which, she says, was more of a job than a career. However, her true passion has always been painting and she found time to continue her art and begin selling it in Colombia. Catalina met her future husband while on vacation in the US and in 2001 the couple moved to the US where she was able to establish a studio and become a professional artist while raising a family. Catalina lives in Georgia with her husband Jose Pablo Cellario and two children Camilla and Matias.
Catallna’s links:
Website: https://www.catalinagomezbeuthart.com/
Instagram: https://www.instagram.com/catalinagomezbeuthart/
Some of Catalina’s favorite artists:
Suzy Schultz
Lene Kilde
Lita Cabellut
Produced by Hollowell Studios
Follow @theaartpodcast on Instagram
The AART Podcast on YouTube has bonus content not included on the podcast.
Email: theaartpodcast@gmail.com
Become a supporter of this podcast: https://www.spreaker.com/podcast/women-unscripted--4769409/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I'm Katalina Gomez Build and I am a fine artist.
Speaker 2 (00:07):
Hello, and welcome to Art the podcast where we get
to know women from around the world of visual arts.
I'm Chris Stafford and this is season three, episode fifteen.
My guest this week is the Colombian fine artist Katalina
Gomez Sperus. Katalina says that through her art, she narrates
(00:31):
with brushstrokes in people's faces, each person's individuality, avoiding the
boundaries created by skin color and ethnicity. She invites the
viewer to start a conversation and connect with something deeper,
to discover the humanity we all share and to feel
the raw emotions such as innocence, hopelessness, loneliness, resilience, happiness, determination,
(00:57):
and more that she portrays in each canvas. Catalina was
born in Meddle in Colombia in nineteen seventy to parents
ross welcome to househive and for a businessman who divorced
when she was seventeen yests introduced to me as sister
(01:18):
was a child you had and I just loved your
refuge when her family life became challenging. After high school,
she studied fashion design at the School of design for
your important for me and further developed her interest Cassi.
While studying mortially upon she worked what she is transforming emotions,
(01:40):
which she time was more than just reacted that moment. However,
had always been painting. She found time to continue her aunt.
Speaker 3 (01:50):
And began selling it in Columbia.
Speaker 2 (01:53):
Catalina met her future husband while vacation in the US,
and in two thousand and one the couple moved the US.
Was able to establish establish them and become that I.
Speaker 3 (02:07):
Actually Georgia the published and that's what.
Speaker 1 (02:12):
I want to portray people. I portray feelings. But I
never thought that I was observative related to people.
Speaker 4 (02:23):
I think.
Speaker 1 (02:26):
It's something that is just so much in myself that
I never pay attention how much I observed them. But
I always try to to see something that is behind
my eyes sometimes like I think with more with my soul,
that's what I think, not with my consciousness. When I
(02:49):
was at the school, I was always very interesting or
I was always very passionate about what was going on
with the with my classmates. For example, I was like
always trying to do things right for what I for
(03:11):
the people that I love and try to help them.
I think that's what moves me, what the people's things,
and how I can make a difference in other people lives.
Speaker 2 (03:26):
So when you were a child growing up in Columbia
and Madeline, what kind of a child were you? Were
you very close to your family?
Speaker 4 (03:36):
Yes, we have a big family.
Speaker 1 (03:40):
I have forty three cousins by one side by my
mom's side, and we are around fifteen by my father's side.
We were very close to my mom's side. And yes,
I grew up with my cousins. We have a very
good relationship. And yes, in my family, my father and
(04:02):
my mother are divorced. But even though we have a
very good childhood, we were always together.
Speaker 4 (04:11):
Yes, we were very very close.
Speaker 3 (04:14):
How old were you when your parents divorced.
Speaker 4 (04:18):
I was seventeen.
Speaker 1 (04:20):
We are three three kids from my father's first marriage
and three from his second marriage.
Speaker 2 (04:28):
That must have been hard in some ways. So often
it is when parents divorced. How did you cope with that?
Speaker 4 (04:36):
Oh? Yes, it was hard.
Speaker 1 (04:39):
I learned to manage that. We have a tough time,
especially at the moment when they get divorced. But I
think since I was a little bit older, I was
able to to transform that moment and to understand what
(05:06):
was going on. So for me, it wasn't that traumatic.
I think, that's what I think. But for sure something
is inside of me that is left from that experience.
But I what I see was more a tumatic from
my brother or my sister. They were younger than me,
(05:29):
so I can't say that it was too too hard,
but it was.
Speaker 4 (05:39):
Hard in some way.
Speaker 2 (05:41):
So what kind of activities did you do then, Catalina,
Because sometimes when we go through a personal a challenge
like that as a child, we turned to some distraction.
Speaker 3 (05:54):
Was it art for you as a child.
Speaker 4 (05:57):
Yes, it was art. It was art.
Speaker 3 (06:00):
I had.
Speaker 1 (06:04):
Dyslection, so I wasn't very good in reading or things
like that, but I was very very good in the
creative field a day and in my middle school, in
my high school, and it was always my refugee when
I was having some problems. I always pain by myself.
(06:27):
In fact, when I was a little bit older than seventeen,
when I was like twenty five or something like that,
I broke up with a boyfriend that I had for
a long time, and painting was the perfect therapy for me.
It helped me a lot. I was for a year
by alone, just trying to recover my life because it
(06:53):
was really hard. I had all my friends around, my
boyfriend too, my ex boyfriend, so it was the therapy
for me to be able to to be by myself. So, yes,
art is always been a big health in my life.
Speaker 2 (07:14):
Was that something that you discovered yourself, then, Katalina, or
what are your parents encouraging or another family member, what
they encouraging you to do that? Because I know you've
got some artists in the family. You've got an opera
singer and a wood worker. We're talking a little bit
about the influences that you had as a child that
(07:35):
led you into art.
Speaker 1 (07:38):
Okay, My grandfather was the opera singer from my mom's side,
and he was the wood worker, but unfortunately I didn't
have the opportunity to meet him. He died when my
mom was very little, she was seven years old. But
still the art was running in my mom's side, more
(08:00):
in the singing field my by my father's side. My
grandmother was very good with his with her hands. She
made beautiful flowers with sugar paste to decorate wedding cakes
and things like that. So I grew up looking at
(08:21):
her doing the doing, doing that kind of thing.
Speaker 4 (08:26):
But my parents weren't.
Speaker 1 (08:31):
They don't support me as when I was the time
when it was the time for me to decide what
I wanted to do. When I finished the school, it
was the time for me to go to college, I
said to my father, Okay, I wanted to go to
the I wanted to do art, and he said, nobody.
If you do something different, I'm not going to support.
Speaker 4 (08:51):
You with that. So it was kind of hard.
Speaker 1 (08:56):
But I started to study to be a lawyer for
a year and then I decided, no, this is not
for me. This is nothing that I am joining. I
need to be around something more creative, around colors, things
like that. So at the end, I moved to fashion
design and that's what I studied, fashion design, and my
(09:18):
father had a factory where we made.
Speaker 4 (09:24):
Accessories for.
Speaker 1 (09:26):
Fashion design for jeens, specifically pro jeens, so I had
more support in that field with my father. Even though
this is hard, was always in my.
Speaker 4 (09:40):
Mind and my.
Speaker 1 (09:41):
Soul every time, so I keep painting by myself. And
when I came here two years and I decided to
get married. After some years, I said, okay, it's time
to pursue my dreams. I totally was my husband who said, Okay,
this is what you always wanted to do, you better
(10:03):
do it now that you have the opportunity. So I
started like fifteen years ago to be the one hundred
percent artists.
Speaker 2 (10:13):
What were you painting mainly as a child than Catlina?
What was really catching your eye and imagination? Was it
always people?
Speaker 4 (10:22):
Yes?
Speaker 1 (10:23):
Always people, always people? Yes, I think I think this
is part of the normal process of almost every fine artist.
We start with people, and we started to be more realistic,
(10:44):
and we move little by little. Now I am in
a face to experiment with different materials and different expressions.
So now I'm working and experimenting with ceramics and with
tapestry and things like that.
Speaker 4 (10:59):
But I is like the normal evolution of every artist.
Speaker 2 (11:04):
Yes, I think that's often the story that we hear.
So you're continuing to branch out them to other things
in a way that could be commercial for you. Is
that the intention?
Speaker 1 (11:18):
No, I'm not thinking to be commercial. I'm thinking is
to look what happened to me is since I started
just ten fifteen years ago, I always think that my
time is too short, and I want to experiment and
I want to see other things too, So I do
(11:40):
think I create things for myself. I don't create things
for other people. I always said, okay, I am creating
this for myself at for somebody else, that if that
person comes now is perfect. If it doesn't come, okay,
it will be the right time whenever the person comes
(12:00):
to get the piece that was creating.
Speaker 4 (12:04):
For that person.
Speaker 1 (12:05):
I think with my pieces, I always think that it
gets to the right right home. It's not that I
create pieces for everybody. He needs to touch the soul
of the older person.
Speaker 2 (12:25):
So going back to your childhood, then, since you were
always drawn to art, which is a very individual activity,
of course, did you play with your brother and sister
did you have common interests with them as you were
growing up.
Speaker 1 (12:40):
I am five years older than my brother and ten
years older than my sister, so we didn't have a
lot of time, a lot of.
Speaker 4 (12:51):
Interests for the same activities.
Speaker 1 (12:52):
We were in different time of our life that we didn't.
Speaker 4 (12:59):
Share that much.
Speaker 1 (13:01):
So I share more with the cousins that were more
that had more or less the same age that I
that I have.
Speaker 3 (13:11):
And what do your brother and sister do now?
Speaker 1 (13:14):
My sister is a teacher, my brother is a landscape designer.
Speaker 2 (13:21):
And who else then in your family is interested in
are now your children?
Speaker 3 (13:25):
Are they following you?
Speaker 1 (13:27):
My son and my daughter, they are good drawing very much.
My daughter loves to do ceramics. She just did it
last year in the in her school. But they are
not so much in art. But I think it's more
because they are kind of tirs in Mommy all the
(13:48):
time around art, all the time, creating all the time,
going to galleries all the time. Whenever we go for vacations,
we wanted to I wanted to go to a museums,
and they are you have to go to a museum.
But I think it's because they are kind of tired,
not because they don't enjoy it, or probably because they
are trying to be rebellion.
Speaker 3 (14:10):
Rebellious.
Speaker 1 (14:11):
Yes, rebellious, that's what I think. But I see, especially
in my daughter, a talent for that.
Speaker 2 (14:19):
So when you were growing up, there were you able
to go to galleries and museums? Did your parents take you?
Speaker 4 (14:25):
No, we didn't go to galleries. We went to not
to opera and what is the name of the other ballet? No,
it was not ballet. It is more like from Spain.
It was more happy than opera.
Speaker 1 (14:39):
Startsuell as starts, well, as is the name, but it's
kind of an opera. But they they talked to and
they dance something more happy than opera.
Speaker 4 (14:51):
So we used to go to.
Speaker 1 (14:53):
That things to the theater, and I was always interesting.
They will backdrops and in the dresses and makeups and
things like that so much.
Speaker 4 (15:06):
I love that so much.
Speaker 2 (15:08):
In terms of the art that you were exposed to
then when you were younger, before you went to learn
and study art yourself, who would have been your influences
growing up in Columbia.
Speaker 1 (15:21):
I would say it was more my grandmother by my
father's side, and he had a cousin who was a
very very good painter.
Speaker 4 (15:34):
He was kind of famous in my city.
Speaker 1 (15:40):
And when I saw his work for the first time,
beautiful women drawing in pencil. But you couldn't believe when
I saw that for the first time, and I was
extremely a move by that.
Speaker 4 (15:55):
It was beautiful. The execution was excellent.
Speaker 1 (15:59):
So I he was a very good impact in my
life in terms of.
Speaker 2 (16:04):
Art and historically, whether artists who's work you admired. Of course,
you know, being South America, I know it's Mexico, but
Frida Carlo comes to mind. I'm wondering if there as
any South American artists or particularly women at all, that
you were noticing.
Speaker 1 (16:23):
Yes, I admire so much Oldi. She's a textile artist.
She's incredible, incredible what she does. I admire Lita Cavelut.
She is from Spain. She's still alive to Her art
is very viceral and she paints portraits very very good.
(16:48):
I love Clamped too. I think it's very romantic and
very very spiritual for me too, so mainly in the gas.
I love the gas so much too. So I think
there are so many artists that I admired. Wajasa Mean,
(17:09):
for example, he's from Ecuador. His art is very visceral too,
so much, and he is like, I mean, it's like
Botto for Ecuador. Bo I mean boo for Colombia, mean
for Ecuador.
Speaker 2 (17:27):
And in terms of the medium that you were using
when you were a child and what you're using now,
talk a little bit about that and how you obviously
developed this yourself and the medium that you preferred.
Speaker 1 (17:40):
I started with pastels, then I moved to acrylics. But
once I started here, very soon I moved to oils
because my sister in law gave me a box of
oil that a friend of her had, and so she
said said, okay, this is for you because I'm not
(18:01):
going to use it. So I said, why not, I'm
going to start with this to see what happened. And
I get in love with oils. It gives you so
much time, so much possibilities to redo things just in
case you don't like what you are doing. And especially
since I start with portos in size, just paying portraits
(18:22):
for now, and I wanted to be realistic, so it
is the perfect medium for me to work with.
Speaker 3 (18:29):
Are you painting mostly from life?
Speaker 1 (18:33):
My models are my kids, So most of the time
my paintings are my son or my daughter, especially my daughter.
Speaker 4 (18:41):
I think I've been painting.
Speaker 1 (18:45):
Her since she was seven years old and now she's eighteen.
But imagine putting your child sitting in a place for
you for hours. It's no way, not even sitting for
you for half hour? Now? Will you are taking pictures?
So that's what I do. I take pictures of them.
(19:06):
And I asked them to Okay, this is what I
wanted to express, imagine this, this is what I and
they know what I want now, So I said, today
and I want you to have a more introspective case
and this is the whole idea that I have for
(19:27):
this series.
Speaker 4 (19:28):
So we talk about that and then they start to
post for me. So I take hundreds of pictures and then.
Speaker 1 (19:36):
When I started to look at the pictures, said okay,
this is what I want and then I'm going to
add some of these other elements and things like that.
But yes, they are my models and they help me
so much.
Speaker 3 (19:49):
And they're free models, and not that.
Speaker 1 (19:52):
Free, to be honest with you, not that free because
they always trying to negotiate somehow any payment that does
good too. I always stend to them, Okay, I can't
pay you this much now, and anytime one of your
pieces are sold, I can't pay you a little bit more. So.
Speaker 4 (20:12):
Yes, and I painted my niece to my nephew, but
mainly my kids.
Speaker 2 (20:22):
Let's get back to your fashion design school in Proved Well.
Tell us about that, what college life was like for
you and how it was shaping what you would become.
Speaker 1 (20:35):
Okay, since it was the closest field that I could,
let's say, negotiate with my father, it was a very
good opportunity for me. It was extremely creative field. We
have a drawing too. We have photography, we have for sure,
(21:00):
so in all those kinds of things, so it nurtures
my curiosity, and of course it gives me the basis
for colors and things like that, textures, So it was.
Speaker 4 (21:15):
Like a good bank of sources for me.
Speaker 1 (21:22):
Now that I'm experimented with ceramics and tapestry and things
like that, I can see even more good things that
I get from my fashion design career than I mean,
even knowledge than probably before than when I was just painting.
Speaker 4 (21:44):
But of course it gives me so many tools.
Speaker 1 (21:48):
That I implementing in my in my career, not just
as a painter, just being curious, just trying to see
what happened.
Speaker 4 (21:59):
Is I do this, what happened if I do that?
Speaker 1 (22:02):
For example, one of my last series is a series
where I incorporate three dimensional elements to the two dimensional.
Speaker 4 (22:14):
Paintings.
Speaker 1 (22:15):
So I think this curiosity these things comes from my
fashion design studies when I try to see what happened
if I had this, What happened if I do this?
Speaker 2 (22:30):
What was that education? Like socially culturally, if you got
exposed to cultures beyond South America through that school, that
would help you know define your direction. I think afterwards
or did you feel the need to travel to be
exposed to cultures beyond South America.
Speaker 4 (22:52):
Yes, my school was very small school.
Speaker 1 (22:57):
Most of my classmates were from the same city that
I grew up, so I didn't have exposure to anything
beyond my city or my culture there. And we have
the possibilities to travel. So with my father we traveled
a little bit. We went to other countries in South America,
(23:19):
and we came we came here to you to visit.
But when I finished to study fashion design, my parents
sent me to Italy for six months to study. Specifically,
(23:39):
it's something related with what my father had in his factory.
So I was studying how to design accessories for for.
Speaker 4 (23:55):
Like backle and things like that.
Speaker 1 (23:59):
So there is when I was one hundred percent sure
that this is what I wanted to do.
Speaker 4 (24:06):
I mean, this is what is my passion for.
Speaker 1 (24:10):
But imagine you living in Florence, just eating whatever in
the middle of the city, in downtown. In the downtown
of the city is like you are always in a museum.
Speaker 4 (24:26):
No matter where you are, you were.
Speaker 1 (24:28):
In a museum outside inside. So it was something very
special for me. So it was the first exposure that
I had about different cultures.
Speaker 4 (24:42):
And it was very much impact in my life.
Speaker 2 (24:46):
What did you most enjoy about your exposure to European art?
Speaker 1 (24:52):
I enjoyed looking at every single I was saying, no,
every single piece of art, No, everywhere, everywhere, just looking
at the way they were able to create those pieces
(25:14):
that looks like so real, and how they were able
to move you to another.
Speaker 4 (25:20):
Time in like.
Speaker 1 (25:25):
I don't I don't know, I don't even know how
to express, but it was something so magical. I feel
like I wasn't another time. I feel like I moved
to another century when I was there, I just wanted
to close my eyes and feel like I was back
(25:47):
in that time.
Speaker 3 (25:48):
Do you collect art yourself?
Speaker 1 (25:52):
I am starting to collect, Yes, art from Latin American
artists right now. I'm starting with my paper collection right now.
So I have a piece from Gadjasamin with Cavajeto. He's
from Colombia. I have a Mayben Toledo, he's from Nicaragua.
(26:15):
Patricia Marilyn, he's from Nicaraga too. Yes, I am starting
with starting to collect my pieces.
Speaker 2 (26:24):
We didn't talk about your relationship with your mother, ROSSI
to tell us about that.
Speaker 3 (26:28):
Were you close?
Speaker 1 (26:29):
We are super close. We are very very close. She
is the light of my life. I would say that
I love her so much. We are very close. We
like to do things together. The only thing is she
lives in Colombia and I am living here in US.
But anytime that we have possibilities to be together, we
try to be together. She comes here to spend time
(26:51):
with the family once a year. I try to go
to visit her as much as I can't.
Speaker 4 (26:58):
Yes, we are very very close. She's so special for me.
Speaker 3 (27:03):
What does she say about your aunt?
Speaker 4 (27:06):
She loves it. She loves it.
Speaker 1 (27:07):
She's always very curious what I'm doing. She's very supportive.
She really, I mean, I think she's very proud.
Speaker 2 (27:23):
What are your musical tastes are they still very Colombian.
Speaker 4 (27:28):
Not that much.
Speaker 1 (27:31):
I think I like different type of music. But when
I discover Brazilian music. My husband is from Argentina, but
he grew up in Brazil, so he introduced me to
the Brazilian music and I love to listen to to
(27:53):
boats and avus and things like that.
Speaker 4 (27:57):
I think it's very romantic.
Speaker 1 (27:59):
The language is very.
Speaker 4 (28:02):
Very romantic for me. I like a pia sola too.
Speaker 1 (28:07):
He's from Argentina and the tangos. I grew up listening
to tangos with my mom and her family, so at
the beginning I didn't like it when I was young,
but now I really enjoyed listening to tangos and listen
something more like orchestra tangos and things like that. I
(28:30):
like music what they have when the music had good lyrics.
For me, it's very important the lyrics. For me, I
always said that we as an artist, we must be
careful what we say because we have the possibility. Especial music,
especially musicians, they have the power to impact many people
at the same time. For me, it's very important that
(28:52):
the lyrics talk about something positive and around something beautiful, or.
Speaker 4 (28:57):
It can be something sad too, but something good.
Speaker 1 (29:02):
Nothing that don't talk good about women, for example, and
things like that that I see. I'm sorry that I
see a lot now in Latin music.
Speaker 2 (29:16):
Do you play a musical instrument or did you sing
with your mother?
Speaker 1 (29:20):
Oh?
Speaker 4 (29:21):
No, I would love to sing, but I don't sing well.
And I tried to play.
Speaker 1 (29:29):
A piano an organ when I was little, but I
wasn't so much in that, so I never pursued any instruments.
Speaker 3 (29:41):
What about in the studio? Now, what do you listen.
Speaker 4 (29:43):
To most of the time? But sanova that's what I
like to listen.
Speaker 1 (29:48):
But sometimes I just turn off the music and I
like to be just insilent. And some other time I
like salsa tool but salsa for my a hero. That's
why my kids said, mmm is dismusic from your era,
so it's more romantic salza. But most of the time
(30:12):
is vot sannova or Brazilian music.
Speaker 4 (30:18):
I like a lot that kind of music.
Speaker 3 (30:22):
Do you have a studio in your house or is
it separate?
Speaker 4 (30:25):
Catalina, No, it is in my house. I was thinking
many times to move out of the house.
Speaker 1 (30:32):
But the thing is, I have to manage my life
as a mother and as an artist, So for me,
it's much more convenient to have.
Speaker 4 (30:44):
Everything in the same place.
Speaker 1 (30:46):
I pick up myself from the school, I cook for them.
We always have a lunch and dinner together. My husband
works from home two so yes, I many times I thought, okay,
I think it would be a better idea if I
move out. But at the same time, I think, okay,
(31:06):
this is a time of my life that I have
to enjoy as much as I can.
Speaker 4 (31:12):
Before they leave.
Speaker 1 (31:13):
In fact, my daughter is living these years, so I
have to enjoy it now that my son is going
to be here for five more years as much as
I can.
Speaker 2 (31:23):
Yes, they're both teenagers, your son Matterias thirteen and Camilla eighteen.
Speaker 1 (31:29):
Yes, and you know that, especially at the time of
day of your life, you need someone to be around
to guide you and things like that. They are very
good kids. But still I think it's good to have
the partners around.
Speaker 3 (31:44):
What does your husband, howse I do?
Speaker 1 (31:47):
He's in the IT field, system analysis and system engineering.
Speaker 2 (31:54):
You spend a lot of time teaching. Where did that
interest for teaching come from? Was it out of necessity?
Speaker 1 (32:02):
No? Actually it was a friend of mine who said
to me one day, will you teach me? I said,
if you want, I will teach you what I know.
And since then one person started to say to another
one and to another one, and now I had three
groups of ladies that come to my studio during the week,
(32:24):
three days a week.
Speaker 4 (32:25):
And since two years ago.
Speaker 1 (32:28):
More or less I started to teach in an assistant leaving.
And let me tell you, that experience amazed for me.
This is so rewarding. The first day when I was
when I went there. I wasn't very sure that I
was able to do that because it was kind of
(32:51):
an impact for me. But then I said no, but
let me try it again. And now I'm always looking
for that day to teach the people in the assistant
leaving and I teach too a program for seniors in
a park, public park, and it's so much fun with
(33:13):
them too. They are very happy, and I feel so
happy that I can give them that time, that joyful time.
So I am enjoying so much teaching. I used to
teach kids, and I teach kids for at least three
(33:33):
years at this at my studio.
Speaker 4 (33:36):
But it was hard.
Speaker 1 (33:38):
It was hard to teach kids, especially because they were
between eight two leaving and I had around eight kids
at the same time, so it was very hard.
Speaker 2 (33:52):
But before you were married, I know you met your
husband her say here in the States, So that determined
when you moved to the US. What year was that,
By the way, when when did you actually move here?
Speaker 4 (34:05):
Two thousand and one.
Speaker 1 (34:06):
We met in two thousand and two thousand and one,
we get married and move here.
Speaker 2 (34:10):
So what did you do between graduating from the School
of design, the fashion design and moving to the US?
Speaker 1 (34:19):
I work with my father in his factory for seven years.
Speaker 3 (34:24):
What did that involve?
Speaker 1 (34:25):
It was more like an administrative work. It wasn't creative work.
Speaker 3 (34:32):
That was more of a job than a career than
was it?
Speaker 4 (34:35):
Yes, exactly, exactly. Still I was.
Speaker 1 (34:38):
Painting by myself at home and things like that, but yes,
it was more like a job.
Speaker 3 (34:43):
Were you able to sell any of your paintings?
Speaker 1 (34:45):
And I saw a couple of paintings where I was
immediatedan working with my father. Yes, But when I moved
here and I started to paint there is when I
started to sell my pieces like more regularly.
Speaker 2 (35:03):
I would say, tell us how that came about, because
that's not always easy to just break loose and become commercial.
Was that a challenging time for you to build a
reputation get established?
Speaker 4 (35:16):
Yes?
Speaker 1 (35:17):
I think it's still challenging because it's like I as
an artist, I am always debating that should I do
commercial things or should I do more artistic things like
what I feel? And I always been incline to do
what I want, what I feel, what I need the
(35:39):
necessity to express. But like I said to you, since
I don't create things just thinking about okay, this is
going to be so commercial and I need to do
this because this is going to the gallery and we
need to sell it. No, it's like, okay, I'm doing
this and I know, not one hundred percent, but probably
(36:03):
I know there is someone that is going to be
touched by my art. So if that someone is the
right person, he will get the peak. And always has
been like that, I've been I don't know if it's
lucky or what, but it's like I've been able to
(36:26):
sell what I what I have been creating, not thinking
anything being commercial. And let me tell you here is
not easy to work, especially with portraits, because people are
kind of confused thinking why should I have someone that
(36:47):
I don't know in my house. But it's like I
always said to when I am talking about my art,
it's like I'm not creating a pieces to go with
you or sofa or with the curtains. I want pieces
that touch your soul. If this speaks to you, this is.
Speaker 4 (37:10):
What I want.
Speaker 1 (37:12):
It doesn't matter that I mean, And that's what I
what I collect right now. Things that touch my soul,
the things that speak to me. It doesn't matter if
it goes with my with the decoration I have at home.
Speaker 4 (37:26):
It needs to be something that reflects who I am
to do.
Speaker 3 (37:31):
You take commissions.
Speaker 1 (37:32):
I do take commissions, even though it's nothing that I
enjoyed that much, but I do take commissions.
Speaker 4 (37:39):
I mean it has to be.
Speaker 1 (37:41):
When someone approached to me ask me, asking me for
a commission, I always said to them, Okay, if you
want me to paint your daughter or your son, I
would do it.
Speaker 4 (37:52):
But in my.
Speaker 1 (37:53):
Style, I like to paint and it has a meaning
behind when I pay the skin color in different shades
of gray.
Speaker 4 (38:04):
So I always said to.
Speaker 1 (38:05):
Them, so it has to be the skin color is
going to be great no matter what, because I think
that's part of my signature too, and that's what I
wanted to express.
Speaker 4 (38:16):
In my art is when I painted.
Speaker 1 (38:21):
The people the skin color in gray is I want
people to get underneath the skin. I want people to
get connected with something beyond the skin color because here,
you know, it's very still very important. I don't know
even there have been so much effort trying to avoid that,
(38:42):
there is still everywhere that skin color is so important
here and for us in Colombia. I'm not going to
say that we are perfect society, but we don't have
that kind of things so highlighted like we have it here.
So I want people get more connected with the feelings.
Speaker 4 (39:03):
Because that's what I wanted to portray.
Speaker 1 (39:05):
So when I portray, when I do commissions, I go
and take pictures of the person that they want me to.
Speaker 4 (39:15):
Plaint, especially if they are kids, and I.
Speaker 1 (39:19):
Try to take something a little bit more spontaneous or
something more meaningful that do just like I don't know,
like any picture that people can have and the people
look good, it's not about looking good, it's about what
they are expressing.
Speaker 3 (39:39):
So when you do your photography, then to prepare for
a commission.
Speaker 1 (39:43):
I usually go with a friend of mine who helped
me to take different angles of the person to pictures.
So I take someone he takes other pictures because I
want Especially when they are kids, you know they move
a lot and things like that, so we have have
to be fast since we work something more spontaneous. We
(40:05):
don't want to We don't want to keep them like
sitting in this way, put your hand here. No, I
want them to play with their brother or sister and
see what happens when they are when when they are playing,
what do they like to play with?
Speaker 4 (40:25):
So we incorporate those.
Speaker 1 (40:27):
Elements in in the at the moment, and then I
can remove those elements and put something different or whatever
my imagination comes with in the middle of the process.
But I want to I want them to be more spontaneous.
When I am at the studio working in a specific series,
(40:50):
I have my idea in my mind already, so I
know exactly what is the the gesture I want my
kids to do.
Speaker 4 (40:59):
Because this is different.
Speaker 1 (41:01):
Is this is more like I have a purpose in
the series, but when it's a portrayed, is something I
want to portray something more expontaneous.
Speaker 2 (41:13):
Now, you've been exhibiting your work for several years now
throughout the States, and I'm wondering how that breakthrough happened
when you first found a gallery to take your work
and really broke into that professional artist mode. If you like, Catalina,
(41:33):
talk a little bit about that and how that went.
Speaker 4 (41:36):
Let me tell you about how I started first.
Speaker 1 (41:38):
I started here at an arts center here in the city.
A friend of mine one day one day came here
and said to me, why we don't take some classes,
and I said, no, I don't have time.
Speaker 4 (41:49):
I have to little kids. There's no way for me.
Speaker 1 (41:52):
So my husband said, no, you have time, you have
to take a break and you have to pursue your
dreams now. So he has been so much support for me.
So I started to paint and I started to exhibit
there at the Art Center, and I won some awards
there and I met some friends. Now they are closer,
(42:19):
closer friends that are artists too. So I started to
ask them, especially one of them, Carlos Lis.
Speaker 4 (42:28):
I started to add him, ask him for advices.
Speaker 1 (42:32):
And he started to say to me, okay, you must
apply here, you must apply there. And so I started
to follow all his advices. And he is the founder
of a group named Contrapunto, which is a group of
artists Latin American artists that tried to open the doors
(42:54):
for Latin arts here, especially in Georgia by the US two.
One day after I would say, like Liz for years
or something or even more, he said, he approached me
and he said, would you like to be part of
my group?
Speaker 4 (43:14):
I said, what are you sure?
Speaker 1 (43:16):
I said yes, of course, So I joined the group.
I would say more than around eight years ago. And
since then I've been able to get more exposed exposure.
Speaker 4 (43:32):
And he's always knocking doors.
Speaker 1 (43:38):
That's why we said, and we work very good as
a group.
Speaker 4 (43:45):
Each of us we have different styles.
Speaker 1 (43:47):
We compliment each other, but it is I think when
you work in a group, probably it's easier because sometimes
you get down because people reject your work or because
you are Latin, so we don't work with Latin artists
and things like that. But there is another person from
(44:09):
the group that it says, okay, let's go move to
another place, so let's go try to do this. So
let's show them how we can handle this. And we
have been able to open many possibilities, not just for
the group, for other Latin artists here in Georgia. So
I think the group helped me a lot to be
able to have more exposure than if I was just
(44:34):
by myself.
Speaker 5 (44:38):
All right, my name is Churisa Bali and I'm a
cinematographer who was a guest on the Part podcast. But
here's what I need you to do.
Speaker 1 (44:46):
Now.
Speaker 5 (44:47):
You've got a download and subscribe to the new Call
Time podcast. It's about women and all departments of film
and television and it's available now on all podcast apps.
Speaker 4 (44:59):
And we'll forget to follow at.
Speaker 5 (45:01):
The call Time podcast on Instagram.
Speaker 4 (45:03):
I'll see you there.
Speaker 2 (45:08):
And now, of course you're exhibited far and wide and
have been for many years. Well, I think it was
twenty fifteen. I saw it was your first exhibition.
Speaker 1 (45:18):
Yea.
Speaker 2 (45:18):
In terms of that part of your art work, I
mean that is obviously important to get your work out
in public. But in terms of the process, which is
the most satisfying for you? Is it when you stand
back from the canvas and finish a piece and what
you see in it, or when you put it out
into an exhibition and you get public reaction.
Speaker 1 (45:41):
I think definitely putting things on the exhibition are very excited,
very much excited. Is all the adrenaline that you have
been experimenting during a year or more is like that
that climax on the on on everything. That other thing
(46:07):
is when when when I started to paint a piece,
I start with an idea and sometimes I would say
most of the time, like in the middle of the process,
it's like this is not working, what is going on?
Something is missing? And then it's like a sparkle. And
(46:28):
I always said that I have an intimate conversation with
the piece that I am painting.
Speaker 4 (46:34):
It's like I allow the piece to said to.
Speaker 1 (46:36):
Me, what should I keep doing and when it when
that magical moment happens, it's so much.
Speaker 4 (46:45):
Joy for me.
Speaker 1 (46:48):
It's like, Okay, this is what I wanted to do.
This is exactly what I was missing, and things like that.
Because I start with the with the person. But since
this is with the model, since this is not what
I am portraying, it's something else. So I need to
have other elements like butterflies, like harts, like balloons, like
(47:12):
I made a series with origami's, things like that. So
when I was able to get into that sparkle of
the element that will help me to create the whole story,
this is so much satisfaction for me.
Speaker 2 (47:30):
I read somewhere that you were recognized by the Colombian
Foreign Ministry among the one hundred Outstanding Colombian Migrants of
twenty twenty. I'm wondering how important that is for you
to have that recognition from your home country.
Speaker 1 (47:47):
Okay, back in that time, we then't experimenting what we
are experimenting right now.
Speaker 4 (47:52):
Now.
Speaker 1 (47:53):
I think it's too much, it's too cruel. That I
feel happy that that I can help to put the
name of my country high. I wanted to always through
my art, like I said, to you. It's very important
we as an artist, we always talk about good things
(48:16):
and be careful.
Speaker 4 (48:17):
What we say, be careful the message we sent, because.
Speaker 1 (48:25):
I always tried to talk in a positive way about
old people, all humans. So I think being able to
or being recognized by the government, it's important because in
that way we can show that we came here to
(48:46):
create community, We came here to help build community instead
of doing something wrong. So yes, it was very very
nice condition. And another thing is I always I work
(49:07):
with the consulate Colombian consulate here to helping to put
some exhibitions on the consulate. I work as a volunteer,
so it is not like I just moved as an
artist doing art. I move as an artist helping other
(49:30):
artists too, creating community, showing people that our people are
doing good things, always through art, but not just painting
in my case.
Speaker 3 (49:44):
And how about the women.
Speaker 2 (49:46):
Have you seen a gross in the numbers of women
that have gained international recognition?
Speaker 4 (49:52):
Everywhere?
Speaker 1 (49:53):
Women are being more recognized, even though not as much
as we should. That is not just in the field
of as a painters, for example, it's always like we
have to work harder to be recognized because for example,
you see the chefs chefs, most of the chests are
(50:16):
that are famous or men, but always women have been
the ones that have been cooking. So it's the same
thing in these other artistic fields or always the attention
is more around me. Even though I think now opens
are a little bit more open for doors are a
(50:38):
little bit more open for women, and we have we
still have to keep working hard to get the same
recognition and Colombia. Yes, I have seen some artists that
new artists that have making very good, that are doing
very good. I'm not very good with names, but all
(51:01):
that I am. For example, she's not a painter, but
she's tapestry and she's very well recognized in this other
girl her last name is Radio.
Speaker 4 (51:15):
She's very good too.
Speaker 1 (51:19):
Yes, we have very good artists that still most of
the time you see men.
Speaker 2 (51:26):
I read somewhere that you said how you believe in
the importance that art has to create bridges of communication
and inspiration to build and improve communities.
Speaker 3 (51:36):
Do you feel that part.
Speaker 2 (51:38):
Of your creative soul is as important as the art itself?
Speaker 4 (51:45):
Of course, I think it is mainly my art. I
think to art you can I mean what.
Speaker 1 (51:56):
I'm trying to do with my art is to show
people that we look so different, but we are so alike.
So that's the way we can create those breaches. Because
when people get in touch with one of my pieces,
for example, and then we started to talk, we realized
(52:18):
that we at the.
Speaker 4 (52:20):
End, we are so alike.
Speaker 1 (52:21):
So that's the way to create community when we instead
of seeing differences, we see so many similar things that
we have. So I think when I put my soul
in my art is the way I open my life
to others too. It's like getting naked in front of
(52:44):
other people, and it's like allowing other people to get
closer to me. And that's the way I create community
when I surrender myself like Okay, this is who I am,
this is what I feel.
Speaker 4 (52:59):
And then when I with them and.
Speaker 1 (53:00):
They said okay, or they express okay, this is what
I feel too, even though I am from Serbia. For example,
I have a very good friend that she is a
very good friend now, but we made through art, and
now when we communicate, we see that we are not
(53:21):
that different. We are so much closer than when we think.
But everything we were able to discover that through art.
Speaker 2 (53:29):
What do you think art has taught you in terms
of your personality and maybe influenced your personality in some way.
Speaker 4 (53:39):
I think.
Speaker 1 (53:44):
Being curious very important. I think being brave somehow because
exposing yourself is it's not that easy.
Speaker 4 (54:03):
So it's like this process have teached me that.
Speaker 1 (54:10):
No matter what what people think, what they say, you
are able to to do it to you have the
courage to do it, and you have to keep doing
that because it's something that you feel passionate for and
you have to keep finding the courage to keep doing
(54:30):
it because as an artist, you expose yourself so much.
So I think that's why this has been teaching me
that being courage.
Speaker 4 (54:41):
I'm curious.
Speaker 3 (54:44):
So what are you working on this year, Catalina?
Speaker 1 (54:49):
I am working right now in a series made with
ceramics and fibers.
Speaker 4 (54:56):
I am experimenting with this new medium for me.
Speaker 1 (55:01):
I didn't show yet any of my works that I've
been doing during this year because I wanted to show
it when everything is done complete, So hopefully for at
the end of next year, I will be able to
show the whole series. I'm still in the face of
investigating things, looking what happened?
Speaker 4 (55:23):
If I add this, what happened if I do this,
since my.
Speaker 1 (55:29):
My developed as an artist always has been more like
a self thought. So I am in this process right
now to discover what can I do with this new.
Speaker 4 (55:43):
Media that I am experimental with.
Speaker 1 (55:45):
Still I paint, but I'm not painting that much because
I think. I mean, when I started to paint, it's
like my mind is right now in the ceramics. So
I said, why should I do this if I had
my mind in this other thing.
Speaker 4 (56:05):
So this is what I'm working right now on so
many possibilities.
Speaker 2 (56:10):
It must be great fun to take this journey and
explore in so many different directions, very satisfying for you.
Speaker 1 (56:17):
Yes, yes, I think art it has infinity possibility, so yes,
And I don't agree with the idea that you have
to get sticked to just one style, to one thing,
because it cuts the possibility to keep growing and evolving. So,
(56:38):
like I said, it's not about being commercial. It's more
like being an artist and keep exploring things to see
what happened.
Speaker 4 (56:46):
And of course there will be a moment where I
will go back one.
Speaker 1 (56:51):
Hundred percent painting, but right now I am in this
other phase.
Speaker 2 (56:57):
Well, it sounds like a lot of fun, and we
wish you the very very best with all of It's Catalina,
and thank you so much for taking time to come
on the podcast.
Speaker 4 (57:06):
Oh, thank you so much for this invitation. I feel
honored with this.
Speaker 2 (57:11):
Thank you, and do join us over on YouTube now
because that's where Catalina and I are heading to give
you a little bonus content. So look for the Art
Podcast on YouTube and catch us there. Remember to like, follow,
and subscribe on your podcast app and of course on
Instagram where you'll find us at the Art podcast that's
(57:32):
Art with two A's. You can also find links to
Catalina's social media and her website are in the show
notes accompanying this episode. Just scroll down below the player
in your podcast app. And if your interest is in sports,
don't forget that's where I started off was with the
WIST Sports Network and you could find literally one hundreds
over thousand episodes about women in sport, in all sports
(57:56):
and all aspects of women in sport. That's on the
WIS Sports Network.
Speaker 3 (58:00):
Just look for.
Speaker 2 (58:01):
WISP podcast Network on any podcast app. And of course
there's Call Time, the new show that you heard about earlier,
and that is of course on any podcast app for
women in all departments of film and television. And speaking
of film and television, I'll be back in two weeks
time when my guest will be the BAFT and nominated
(58:23):
cinematographer and marie Leen vicou So. I do hope you'll
join me then. In the meantime, thank you again to
my guest this week, Katalina Gomes Bert, and to you
for listening.
I'm Katalina Gomez Build and I am a fine artist.
Speaker 2 (00:07):
Hello, and welcome to Art the podcast where we get
to know women from around the world of visual arts.
I'm Chris Stafford and this is season three, episode fifteen.
My guest this week is the Colombian fine artist Katalina
Gomez Sperus. Katalina says that through her art, she narrates
(00:31):
with brushstrokes in people's faces, each person's individuality, avoiding the
boundaries created by skin color and ethnicity. She invites the
viewer to start a conversation and connect with something deeper,
to discover the humanity we all share and to feel
the raw emotions such as innocence, hopelessness, loneliness, resilience, happiness, determination,
(00:57):
and more that she portrays in each canvas. Catalina was
born in Meddle in Colombia in nineteen seventy to parents
ross welcome to househive and for a businessman who divorced
when she was seventeen yests introduced to me as sister
(01:18):
was a child you had and I just loved your
refuge when her family life became challenging. After high school,
she studied fashion design at the School of design for
your important for me and further developed her interest Cassi.
While studying mortially upon she worked what she is transforming emotions,
(01:40):
which she time was more than just reacted that moment. However,
had always been painting. She found time to continue her aunt.
Speaker 3 (01:50):
And began selling it in Columbia.
Speaker 2 (01:53):
Catalina met her future husband while vacation in the US,
and in two thousand and one the couple moved the US.
Was able to establish establish them and become that I.
Speaker 3 (02:07):
Actually Georgia the published and that's what.
Speaker 1 (02:12):
I want to portray people. I portray feelings. But I
never thought that I was observative related to people.
Speaker 4 (02:23):
I think.
Speaker 1 (02:26):
It's something that is just so much in myself that
I never pay attention how much I observed them. But
I always try to to see something that is behind
my eyes sometimes like I think with more with my soul,
that's what I think, not with my consciousness. When I
(02:49):
was at the school, I was always very interesting or
I was always very passionate about what was going on
with the with my classmates. For example, I was like
always trying to do things right for what I for
(03:11):
the people that I love and try to help them.
I think that's what moves me, what the people's things,
and how I can make a difference in other people lives.
Speaker 2 (03:26):
So when you were a child growing up in Columbia
and Madeline, what kind of a child were you? Were
you very close to your family?
Speaker 4 (03:36):
Yes, we have a big family.
Speaker 1 (03:40):
I have forty three cousins by one side by my
mom's side, and we are around fifteen by my father's side.
We were very close to my mom's side. And yes,
I grew up with my cousins. We have a very
good relationship. And yes, in my family, my father and
(04:02):
my mother are divorced. But even though we have a
very good childhood, we were always together.
Speaker 4 (04:11):
Yes, we were very very close.
Speaker 3 (04:14):
How old were you when your parents divorced.
Speaker 4 (04:18):
I was seventeen.
Speaker 1 (04:20):
We are three three kids from my father's first marriage
and three from his second marriage.
Speaker 2 (04:28):
That must have been hard in some ways. So often
it is when parents divorced. How did you cope with that?
Speaker 4 (04:36):
Oh? Yes, it was hard.
Speaker 1 (04:39):
I learned to manage that. We have a tough time,
especially at the moment when they get divorced. But I
think since I was a little bit older, I was
able to to transform that moment and to understand what
(05:06):
was going on. So for me, it wasn't that traumatic.
I think, that's what I think. But for sure something
is inside of me that is left from that experience.
But I what I see was more a tumatic from
my brother or my sister. They were younger than me,
(05:29):
so I can't say that it was too too hard,
but it was.
Speaker 4 (05:39):
Hard in some way.
Speaker 2 (05:41):
So what kind of activities did you do then, Catalina,
Because sometimes when we go through a personal a challenge
like that as a child, we turned to some distraction.
Speaker 3 (05:54):
Was it art for you as a child.
Speaker 4 (05:57):
Yes, it was art. It was art.
Speaker 3 (06:00):
I had.
Speaker 1 (06:04):
Dyslection, so I wasn't very good in reading or things
like that, but I was very very good in the
creative field a day and in my middle school, in
my high school, and it was always my refugee when
I was having some problems. I always pain by myself.
(06:27):
In fact, when I was a little bit older than seventeen,
when I was like twenty five or something like that,
I broke up with a boyfriend that I had for
a long time, and painting was the perfect therapy for me.
It helped me a lot. I was for a year
by alone, just trying to recover my life because it
(06:53):
was really hard. I had all my friends around, my
boyfriend too, my ex boyfriend, so it was the therapy
for me to be able to to be by myself. So, yes,
art is always been a big health in my life.
Speaker 2 (07:14):
Was that something that you discovered yourself, then, Katalina, or
what are your parents encouraging or another family member, what
they encouraging you to do that? Because I know you've
got some artists in the family. You've got an opera
singer and a wood worker. We're talking a little bit
about the influences that you had as a child that
(07:35):
led you into art.
Speaker 1 (07:38):
Okay, My grandfather was the opera singer from my mom's side,
and he was the wood worker, but unfortunately I didn't
have the opportunity to meet him. He died when my
mom was very little, she was seven years old. But
still the art was running in my mom's side, more
(08:00):
in the singing field my by my father's side. My
grandmother was very good with his with her hands. She
made beautiful flowers with sugar paste to decorate wedding cakes
and things like that. So I grew up looking at
(08:21):
her doing the doing, doing that kind of thing.
Speaker 4 (08:26):
But my parents weren't.
Speaker 1 (08:31):
They don't support me as when I was the time
when it was the time for me to decide what
I wanted to do. When I finished the school, it
was the time for me to go to college, I
said to my father, Okay, I wanted to go to
the I wanted to do art, and he said, nobody.
If you do something different, I'm not going to support.
Speaker 4 (08:51):
You with that. So it was kind of hard.
Speaker 1 (08:56):
But I started to study to be a lawyer for
a year and then I decided, no, this is not
for me. This is nothing that I am joining. I
need to be around something more creative, around colors, things
like that. So at the end, I moved to fashion
design and that's what I studied, fashion design, and my
(09:18):
father had a factory where we made.
Speaker 4 (09:24):
Accessories for.
Speaker 1 (09:26):
Fashion design for jeens, specifically pro jeens, so I had
more support in that field with my father. Even though
this is hard, was always in my.
Speaker 4 (09:40):
Mind and my.
Speaker 1 (09:41):
Soul every time, so I keep painting by myself. And
when I came here two years and I decided to
get married. After some years, I said, okay, it's time
to pursue my dreams. I totally was my husband who said, Okay,
this is what you always wanted to do, you better
(10:03):
do it now that you have the opportunity. So I
started like fifteen years ago to be the one hundred
percent artists.
Speaker 2 (10:13):
What were you painting mainly as a child than Catlina?
What was really catching your eye and imagination? Was it
always people?
Speaker 4 (10:22):
Yes?
Speaker 1 (10:23):
Always people, always people? Yes, I think I think this
is part of the normal process of almost every fine artist.
We start with people, and we started to be more realistic,
(10:44):
and we move little by little. Now I am in
a face to experiment with different materials and different expressions.
So now I'm working and experimenting with ceramics and with
tapestry and things like that.
Speaker 4 (10:59):
But I is like the normal evolution of every artist.
Speaker 2 (11:04):
Yes, I think that's often the story that we hear.
So you're continuing to branch out them to other things
in a way that could be commercial for you. Is
that the intention?
Speaker 1 (11:18):
No, I'm not thinking to be commercial. I'm thinking is
to look what happened to me is since I started
just ten fifteen years ago, I always think that my
time is too short, and I want to experiment and
I want to see other things too, So I do
(11:40):
think I create things for myself. I don't create things
for other people. I always said, okay, I am creating
this for myself at for somebody else, that if that
person comes now is perfect. If it doesn't come, okay,
it will be the right time whenever the person comes
(12:00):
to get the piece that was creating.
Speaker 4 (12:04):
For that person.
Speaker 1 (12:05):
I think with my pieces, I always think that it
gets to the right right home. It's not that I
create pieces for everybody. He needs to touch the soul
of the older person.
Speaker 2 (12:25):
So going back to your childhood, then, since you were
always drawn to art, which is a very individual activity,
of course, did you play with your brother and sister
did you have common interests with them as you were
growing up.
Speaker 1 (12:40):
I am five years older than my brother and ten
years older than my sister, so we didn't have a
lot of time, a lot of.
Speaker 4 (12:51):
Interests for the same activities.
Speaker 1 (12:52):
We were in different time of our life that we didn't.
Speaker 4 (12:59):
Share that much.
Speaker 1 (13:01):
So I share more with the cousins that were more
that had more or less the same age that I
that I have.
Speaker 3 (13:11):
And what do your brother and sister do now?
Speaker 1 (13:14):
My sister is a teacher, my brother is a landscape designer.
Speaker 2 (13:21):
And who else then in your family is interested in
are now your children?
Speaker 3 (13:25):
Are they following you?
Speaker 1 (13:27):
My son and my daughter, they are good drawing very much.
My daughter loves to do ceramics. She just did it
last year in the in her school. But they are
not so much in art. But I think it's more
because they are kind of tirs in Mommy all the
(13:48):
time around art, all the time, creating all the time,
going to galleries all the time. Whenever we go for vacations,
we wanted to I wanted to go to a museums,
and they are you have to go to a museum.
But I think it's because they are kind of tired,
not because they don't enjoy it, or probably because they
are trying to be rebellion.
Speaker 3 (14:10):
Rebellious.
Speaker 1 (14:11):
Yes, rebellious, that's what I think. But I see, especially
in my daughter, a talent for that.
Speaker 2 (14:19):
So when you were growing up, there were you able
to go to galleries and museums? Did your parents take you?
Speaker 4 (14:25):
No, we didn't go to galleries. We went to not
to opera and what is the name of the other ballet? No,
it was not ballet. It is more like from Spain.
It was more happy than opera.
Speaker 1 (14:39):
Startsuell as starts, well, as is the name, but it's
kind of an opera. But they they talked to and
they dance something more happy than opera.
Speaker 4 (14:51):
So we used to go to.
Speaker 1 (14:53):
That things to the theater, and I was always interesting.
They will backdrops and in the dresses and makeups and
things like that so much.
Speaker 4 (15:06):
I love that so much.
Speaker 2 (15:08):
In terms of the art that you were exposed to
then when you were younger, before you went to learn
and study art yourself, who would have been your influences
growing up in Columbia.
Speaker 1 (15:21):
I would say it was more my grandmother by my
father's side, and he had a cousin who was a
very very good painter.
Speaker 4 (15:34):
He was kind of famous in my city.
Speaker 1 (15:40):
And when I saw his work for the first time,
beautiful women drawing in pencil. But you couldn't believe when
I saw that for the first time, and I was
extremely a move by that.
Speaker 4 (15:55):
It was beautiful. The execution was excellent.
Speaker 1 (15:59):
So I he was a very good impact in my
life in terms of.
Speaker 2 (16:04):
Art and historically, whether artists who's work you admired. Of course,
you know, being South America, I know it's Mexico, but
Frida Carlo comes to mind. I'm wondering if there as
any South American artists or particularly women at all, that
you were noticing.
Speaker 1 (16:23):
Yes, I admire so much Oldi. She's a textile artist.
She's incredible, incredible what she does. I admire Lita Cavelut.
She is from Spain. She's still alive to Her art
is very viceral and she paints portraits very very good.
(16:48):
I love Clamped too. I think it's very romantic and
very very spiritual for me too, so mainly in the gas.
I love the gas so much too. So I think
there are so many artists that I admired. Wajasa Mean,
(17:09):
for example, he's from Ecuador. His art is very visceral too,
so much, and he is like, I mean, it's like
Botto for Ecuador. Bo I mean boo for Colombia, mean
for Ecuador.
Speaker 2 (17:27):
And in terms of the medium that you were using
when you were a child and what you're using now,
talk a little bit about that and how you obviously
developed this yourself and the medium that you preferred.
Speaker 1 (17:40):
I started with pastels, then I moved to acrylics. But
once I started here, very soon I moved to oils
because my sister in law gave me a box of
oil that a friend of her had, and so she
said said, okay, this is for you because I'm not
(18:01):
going to use it. So I said, why not, I'm
going to start with this to see what happened. And
I get in love with oils. It gives you so
much time, so much possibilities to redo things just in
case you don't like what you are doing. And especially
since I start with portos in size, just paying portraits
(18:22):
for now, and I wanted to be realistic, so it
is the perfect medium for me to work with.
Speaker 3 (18:29):
Are you painting mostly from life?
Speaker 1 (18:33):
My models are my kids, So most of the time
my paintings are my son or my daughter, especially my daughter.
Speaker 4 (18:41):
I think I've been painting.
Speaker 1 (18:45):
Her since she was seven years old and now she's eighteen.
But imagine putting your child sitting in a place for
you for hours. It's no way, not even sitting for
you for half hour? Now? Will you are taking pictures?
So that's what I do. I take pictures of them.
(19:06):
And I asked them to Okay, this is what I
wanted to express, imagine this, this is what I and
they know what I want now, So I said, today
and I want you to have a more introspective case
and this is the whole idea that I have for
(19:27):
this series.
Speaker 4 (19:28):
So we talk about that and then they start to
post for me. So I take hundreds of pictures and then.
Speaker 1 (19:36):
When I started to look at the pictures, said okay,
this is what I want and then I'm going to
add some of these other elements and things like that.
But yes, they are my models and they help me
so much.
Speaker 3 (19:49):
And they're free models, and not that.
Speaker 1 (19:52):
Free, to be honest with you, not that free because
they always trying to negotiate somehow any payment that does
good too. I always stend to them, Okay, I can't
pay you this much now, and anytime one of your
pieces are sold, I can't pay you a little bit more. So.
Speaker 4 (20:12):
Yes, and I painted my niece to my nephew, but
mainly my kids.
Speaker 2 (20:22):
Let's get back to your fashion design school in Proved Well.
Tell us about that, what college life was like for
you and how it was shaping what you would become.
Speaker 1 (20:35):
Okay, since it was the closest field that I could,
let's say, negotiate with my father, it was a very
good opportunity for me. It was extremely creative field. We
have a drawing too. We have photography, we have for sure,
(21:00):
so in all those kinds of things, so it nurtures
my curiosity, and of course it gives me the basis
for colors and things like that, textures, So it was.
Speaker 4 (21:15):
Like a good bank of sources for me.
Speaker 1 (21:22):
Now that I'm experimented with ceramics and tapestry and things
like that, I can see even more good things that
I get from my fashion design career than I mean,
even knowledge than probably before than when I was just painting.
Speaker 4 (21:44):
But of course it gives me so many tools.
Speaker 1 (21:48):
That I implementing in my in my career, not just
as a painter, just being curious, just trying to see
what happened.
Speaker 4 (21:59):
Is I do this, what happened if I do that?
Speaker 1 (22:02):
For example, one of my last series is a series
where I incorporate three dimensional elements to the two dimensional.
Speaker 4 (22:14):
Paintings.
Speaker 1 (22:15):
So I think this curiosity these things comes from my
fashion design studies when I try to see what happened
if I had this, What happened if I do this?
Speaker 2 (22:30):
What was that education? Like socially culturally, if you got
exposed to cultures beyond South America through that school, that
would help you know define your direction. I think afterwards
or did you feel the need to travel to be
exposed to cultures beyond South America.
Speaker 4 (22:52):
Yes, my school was very small school.
Speaker 1 (22:57):
Most of my classmates were from the same city that
I grew up, so I didn't have exposure to anything
beyond my city or my culture there. And we have
the possibilities to travel. So with my father we traveled
a little bit. We went to other countries in South America,
(23:19):
and we came we came here to you to visit.
But when I finished to study fashion design, my parents
sent me to Italy for six months to study. Specifically,
(23:39):
it's something related with what my father had in his factory.
So I was studying how to design accessories for for.
Speaker 4 (23:55):
Like backle and things like that.
Speaker 1 (23:59):
So there is when I was one hundred percent sure
that this is what I wanted to do.
Speaker 4 (24:06):
I mean, this is what is my passion for.
Speaker 1 (24:10):
But imagine you living in Florence, just eating whatever in
the middle of the city, in downtown. In the downtown
of the city is like you are always in a museum.
Speaker 4 (24:26):
No matter where you are, you were.
Speaker 1 (24:28):
In a museum outside inside. So it was something very
special for me. So it was the first exposure that
I had about different cultures.
Speaker 4 (24:42):
And it was very much impact in my life.
Speaker 2 (24:46):
What did you most enjoy about your exposure to European art?
Speaker 1 (24:52):
I enjoyed looking at every single I was saying, no,
every single piece of art, No, everywhere, everywhere, just looking
at the way they were able to create those pieces
(25:14):
that looks like so real, and how they were able
to move you to another.
Speaker 4 (25:20):
Time in like.
Speaker 1 (25:25):
I don't I don't know, I don't even know how
to express, but it was something so magical. I feel
like I wasn't another time. I feel like I moved
to another century when I was there, I just wanted
to close my eyes and feel like I was back
(25:47):
in that time.
Speaker 3 (25:48):
Do you collect art yourself?
Speaker 1 (25:52):
I am starting to collect, Yes, art from Latin American
artists right now. I'm starting with my paper collection right now.
So I have a piece from Gadjasamin with Cavajeto. He's
from Colombia. I have a Mayben Toledo, he's from Nicaragua.
(26:15):
Patricia Marilyn, he's from Nicaraga too. Yes, I am starting
with starting to collect my pieces.
Speaker 2 (26:24):
We didn't talk about your relationship with your mother, ROSSI
to tell us about that.
Speaker 3 (26:28):
Were you close?
Speaker 1 (26:29):
We are super close. We are very very close. She
is the light of my life. I would say that
I love her so much. We are very close. We
like to do things together. The only thing is she
lives in Colombia and I am living here in US.
But anytime that we have possibilities to be together, we
try to be together. She comes here to spend time
(26:51):
with the family once a year. I try to go
to visit her as much as I can't.
Speaker 4 (26:58):
Yes, we are very very close. She's so special for me.
Speaker 3 (27:03):
What does she say about your aunt?
Speaker 4 (27:06):
She loves it. She loves it.
Speaker 1 (27:07):
She's always very curious what I'm doing. She's very supportive.
She really, I mean, I think she's very proud.
Speaker 2 (27:23):
What are your musical tastes are they still very Colombian.
Speaker 4 (27:28):
Not that much.
Speaker 1 (27:31):
I think I like different type of music. But when
I discover Brazilian music. My husband is from Argentina, but
he grew up in Brazil, so he introduced me to
the Brazilian music and I love to listen to to
(27:53):
boats and avus and things like that.
Speaker 4 (27:57):
I think it's very romantic.
Speaker 1 (27:59):
The language is very.
Speaker 4 (28:02):
Very romantic for me. I like a pia sola too.
Speaker 1 (28:07):
He's from Argentina and the tangos. I grew up listening
to tangos with my mom and her family, so at
the beginning I didn't like it when I was young,
but now I really enjoyed listening to tangos and listen
something more like orchestra tangos and things like that. I
(28:30):
like music what they have when the music had good lyrics.
For me, it's very important the lyrics. For me, I
always said that we as an artist, we must be
careful what we say because we have the possibility. Especial music,
especially musicians, they have the power to impact many people
at the same time. For me, it's very important that
(28:52):
the lyrics talk about something positive and around something beautiful, or.
Speaker 4 (28:57):
It can be something sad too, but something good.
Speaker 1 (29:02):
Nothing that don't talk good about women, for example, and
things like that that I see. I'm sorry that I
see a lot now in Latin music.
Speaker 2 (29:16):
Do you play a musical instrument or did you sing
with your mother?
Speaker 1 (29:20):
Oh?
Speaker 4 (29:21):
No, I would love to sing, but I don't sing well.
And I tried to play.
Speaker 1 (29:29):
A piano an organ when I was little, but I
wasn't so much in that, so I never pursued any instruments.
Speaker 3 (29:41):
What about in the studio? Now, what do you listen.
Speaker 4 (29:43):
To most of the time? But sanova that's what I
like to listen.
Speaker 1 (29:48):
But sometimes I just turn off the music and I
like to be just insilent. And some other time I
like salsa tool but salsa for my a hero. That's
why my kids said, mmm is dismusic from your era,
so it's more romantic salza. But most of the time
(30:12):
is vot sannova or Brazilian music.
Speaker 4 (30:18):
I like a lot that kind of music.
Speaker 3 (30:22):
Do you have a studio in your house or is
it separate?
Speaker 4 (30:25):
Catalina, No, it is in my house. I was thinking
many times to move out of the house.
Speaker 1 (30:32):
But the thing is, I have to manage my life
as a mother and as an artist, So for me,
it's much more convenient to have.
Speaker 4 (30:44):
Everything in the same place.
Speaker 1 (30:46):
I pick up myself from the school, I cook for them.
We always have a lunch and dinner together. My husband
works from home two so yes, I many times I thought, okay,
I think it would be a better idea if I
move out. But at the same time, I think, okay,
(31:06):
this is a time of my life that I have
to enjoy as much as I can.
Speaker 4 (31:12):
Before they leave.
Speaker 1 (31:13):
In fact, my daughter is living these years, so I
have to enjoy it now that my son is going
to be here for five more years as much as
I can.
Speaker 2 (31:23):
Yes, they're both teenagers, your son Matterias thirteen and Camilla eighteen.
Speaker 1 (31:29):
Yes, and you know that, especially at the time of
day of your life, you need someone to be around
to guide you and things like that. They are very
good kids. But still I think it's good to have
the partners around.
Speaker 3 (31:44):
What does your husband, howse I do?
Speaker 1 (31:47):
He's in the IT field, system analysis and system engineering.
Speaker 2 (31:54):
You spend a lot of time teaching. Where did that
interest for teaching come from? Was it out of necessity?
Speaker 1 (32:02):
No? Actually it was a friend of mine who said
to me one day, will you teach me? I said,
if you want, I will teach you what I know.
And since then one person started to say to another
one and to another one, and now I had three
groups of ladies that come to my studio during the week,
(32:24):
three days a week.
Speaker 4 (32:25):
And since two years ago.
Speaker 1 (32:28):
More or less I started to teach in an assistant leaving.
And let me tell you, that experience amazed for me.
This is so rewarding. The first day when I was
when I went there. I wasn't very sure that I
was able to do that because it was kind of
(32:51):
an impact for me. But then I said no, but
let me try it again. And now I'm always looking
for that day to teach the people in the assistant
leaving and I teach too a program for seniors in
a park, public park, and it's so much fun with
(33:13):
them too. They are very happy, and I feel so
happy that I can give them that time, that joyful time.
So I am enjoying so much teaching. I used to
teach kids, and I teach kids for at least three
(33:33):
years at this at my studio.
Speaker 4 (33:36):
But it was hard.
Speaker 1 (33:38):
It was hard to teach kids, especially because they were
between eight two leaving and I had around eight kids
at the same time, so it was very hard.
Speaker 2 (33:52):
But before you were married, I know you met your
husband her say here in the States, So that determined
when you moved to the US. What year was that,
By the way, when when did you actually move here?
Speaker 4 (34:05):
Two thousand and one.
Speaker 1 (34:06):
We met in two thousand and two thousand and one,
we get married and move here.
Speaker 2 (34:10):
So what did you do between graduating from the School
of design, the fashion design and moving to the US?
Speaker 1 (34:19):
I work with my father in his factory for seven years.
Speaker 3 (34:24):
What did that involve?
Speaker 1 (34:25):
It was more like an administrative work. It wasn't creative work.
Speaker 3 (34:32):
That was more of a job than a career than
was it?
Speaker 4 (34:35):
Yes, exactly, exactly. Still I was.
Speaker 1 (34:38):
Painting by myself at home and things like that, but yes,
it was more like a job.
Speaker 3 (34:43):
Were you able to sell any of your paintings?
Speaker 1 (34:45):
And I saw a couple of paintings where I was
immediatedan working with my father. Yes, But when I moved
here and I started to paint there is when I
started to sell my pieces like more regularly.
Speaker 2 (35:03):
I would say, tell us how that came about, because
that's not always easy to just break loose and become commercial.
Was that a challenging time for you to build a
reputation get established?
Speaker 4 (35:16):
Yes?
Speaker 1 (35:17):
I think it's still challenging because it's like I as
an artist, I am always debating that should I do
commercial things or should I do more artistic things like
what I feel? And I always been incline to do
what I want, what I feel, what I need the
(35:39):
necessity to express. But like I said to you, since
I don't create things just thinking about okay, this is
going to be so commercial and I need to do
this because this is going to the gallery and we
need to sell it. No, it's like, okay, I'm doing
this and I know, not one hundred percent, but probably
(36:03):
I know there is someone that is going to be
touched by my art. So if that someone is the
right person, he will get the peak. And always has
been like that, I've been I don't know if it's
lucky or what, but it's like I've been able to
(36:26):
sell what I what I have been creating, not thinking
anything being commercial. And let me tell you here is
not easy to work, especially with portraits, because people are
kind of confused thinking why should I have someone that
(36:47):
I don't know in my house. But it's like I
always said to when I am talking about my art,
it's like I'm not creating a pieces to go with
you or sofa or with the curtains. I want pieces
that touch your soul. If this speaks to you, this is.
Speaker 4 (37:10):
What I want.
Speaker 1 (37:12):
It doesn't matter that I mean, And that's what I
what I collect right now. Things that touch my soul,
the things that speak to me. It doesn't matter if
it goes with my with the decoration I have at home.
Speaker 4 (37:26):
It needs to be something that reflects who I am
to do.
Speaker 3 (37:31):
You take commissions.
Speaker 1 (37:32):
I do take commissions, even though it's nothing that I
enjoyed that much, but I do take commissions.
Speaker 4 (37:39):
I mean it has to be.
Speaker 1 (37:41):
When someone approached to me ask me, asking me for
a commission, I always said to them, Okay, if you
want me to paint your daughter or your son, I
would do it.
Speaker 4 (37:52):
But in my.
Speaker 1 (37:53):
Style, I like to paint and it has a meaning
behind when I pay the skin color in different shades
of gray.
Speaker 4 (38:04):
So I always said to.
Speaker 1 (38:05):
Them, so it has to be the skin color is
going to be great no matter what, because I think
that's part of my signature too, and that's what I
wanted to express.
Speaker 4 (38:16):
In my art is when I painted.
Speaker 1 (38:21):
The people the skin color in gray is I want
people to get underneath the skin. I want people to
get connected with something beyond the skin color because here,
you know, it's very still very important. I don't know
even there have been so much effort trying to avoid that,
(38:42):
there is still everywhere that skin color is so important
here and for us in Colombia. I'm not going to
say that we are perfect society, but we don't have
that kind of things so highlighted like we have it here.
So I want people get more connected with the feelings.
Speaker 4 (39:03):
Because that's what I wanted to portray.
Speaker 1 (39:05):
So when I portray, when I do commissions, I go
and take pictures of the person that they want me to.
Speaker 4 (39:15):
Plaint, especially if they are kids, and I.
Speaker 1 (39:19):
Try to take something a little bit more spontaneous or
something more meaningful that do just like I don't know,
like any picture that people can have and the people
look good, it's not about looking good, it's about what
they are expressing.
Speaker 3 (39:39):
So when you do your photography, then to prepare for
a commission.
Speaker 1 (39:43):
I usually go with a friend of mine who helped
me to take different angles of the person to pictures.
So I take someone he takes other pictures because I
want Especially when they are kids, you know they move
a lot and things like that, so we have have
to be fast since we work something more spontaneous. We
(40:05):
don't want to We don't want to keep them like
sitting in this way, put your hand here. No, I
want them to play with their brother or sister and
see what happens when they are when when they are playing,
what do they like to play with?
Speaker 4 (40:25):
So we incorporate those.
Speaker 1 (40:27):
Elements in in the at the moment, and then I
can remove those elements and put something different or whatever
my imagination comes with in the middle of the process.
But I want to I want them to be more spontaneous.
When I am at the studio working in a specific series,
(40:50):
I have my idea in my mind already, so I
know exactly what is the the gesture I want my
kids to do.
Speaker 4 (40:59):
Because this is different.
Speaker 1 (41:01):
Is this is more like I have a purpose in
the series, but when it's a portrayed, is something I
want to portray something more expontaneous.
Speaker 2 (41:13):
Now, you've been exhibiting your work for several years now
throughout the States, and I'm wondering how that breakthrough happened
when you first found a gallery to take your work
and really broke into that professional artist mode. If you like, Catalina,
(41:33):
talk a little bit about that and how that went.
Speaker 4 (41:36):
Let me tell you about how I started first.
Speaker 1 (41:38):
I started here at an arts center here in the city.
A friend of mine one day one day came here
and said to me, why we don't take some classes,
and I said, no, I don't have time.
Speaker 4 (41:49):
I have to little kids. There's no way for me.
Speaker 1 (41:52):
So my husband said, no, you have time, you have
to take a break and you have to pursue your
dreams now. So he has been so much support for me.
So I started to paint and I started to exhibit
there at the Art Center, and I won some awards
there and I met some friends. Now they are closer,
(42:19):
closer friends that are artists too. So I started to
ask them, especially one of them, Carlos Lis.
Speaker 4 (42:28):
I started to add him, ask him for advices.
Speaker 1 (42:32):
And he started to say to me, okay, you must
apply here, you must apply there. And so I started
to follow all his advices. And he is the founder
of a group named Contrapunto, which is a group of
artists Latin American artists that tried to open the doors
(42:54):
for Latin arts here, especially in Georgia by the US two.
One day after I would say, like Liz for years
or something or even more, he said, he approached me
and he said, would you like to be part of
my group?
Speaker 4 (43:14):
I said, what are you sure?
Speaker 1 (43:16):
I said yes, of course, So I joined the group.
I would say more than around eight years ago. And
since then I've been able to get more exposed exposure.
Speaker 4 (43:32):
And he's always knocking doors.
Speaker 1 (43:38):
That's why we said, and we work very good as
a group.
Speaker 4 (43:45):
Each of us we have different styles.
Speaker 1 (43:47):
We compliment each other, but it is I think when
you work in a group, probably it's easier because sometimes
you get down because people reject your work or because
you are Latin, so we don't work with Latin artists
and things like that. But there is another person from
(44:09):
the group that it says, okay, let's go move to
another place, so let's go try to do this. So
let's show them how we can handle this. And we
have been able to open many possibilities, not just for
the group, for other Latin artists here in Georgia. So
I think the group helped me a lot to be
able to have more exposure than if I was just
(44:34):
by myself.
Speaker 5 (44:38):
All right, my name is Churisa Bali and I'm a
cinematographer who was a guest on the Part podcast. But
here's what I need you to do.
Speaker 1 (44:46):
Now.
Speaker 5 (44:47):
You've got a download and subscribe to the new Call
Time podcast. It's about women and all departments of film
and television and it's available now on all podcast apps.
Speaker 4 (44:59):
And we'll forget to follow at.
Speaker 5 (45:01):
The call Time podcast on Instagram.
Speaker 4 (45:03):
I'll see you there.
Speaker 2 (45:08):
And now, of course you're exhibited far and wide and
have been for many years. Well, I think it was
twenty fifteen. I saw it was your first exhibition.
Speaker 1 (45:18):
Yea.
Speaker 2 (45:18):
In terms of that part of your art work, I
mean that is obviously important to get your work out
in public. But in terms of the process, which is
the most satisfying for you? Is it when you stand
back from the canvas and finish a piece and what
you see in it, or when you put it out
into an exhibition and you get public reaction.
Speaker 1 (45:41):
I think definitely putting things on the exhibition are very excited,
very much excited. Is all the adrenaline that you have
been experimenting during a year or more is like that
that climax on the on on everything. That other thing
(46:07):
is when when when I started to paint a piece,
I start with an idea and sometimes I would say
most of the time, like in the middle of the process,
it's like this is not working, what is going on?
Something is missing? And then it's like a sparkle. And
(46:28):
I always said that I have an intimate conversation with
the piece that I am painting.
Speaker 4 (46:34):
It's like I allow the piece to said to.
Speaker 1 (46:36):
Me, what should I keep doing and when it when
that magical moment happens, it's so much.
Speaker 4 (46:45):
Joy for me.
Speaker 1 (46:48):
It's like, Okay, this is what I wanted to do.
This is exactly what I was missing, and things like that.
Because I start with the with the person. But since
this is with the model, since this is not what
I am portraying, it's something else. So I need to
have other elements like butterflies, like harts, like balloons, like
(47:12):
I made a series with origami's, things like that. So
when I was able to get into that sparkle of
the element that will help me to create the whole story,
this is so much satisfaction for me.
Speaker 2 (47:30):
I read somewhere that you were recognized by the Colombian
Foreign Ministry among the one hundred Outstanding Colombian Migrants of
twenty twenty. I'm wondering how important that is for you
to have that recognition from your home country.
Speaker 1 (47:47):
Okay, back in that time, we then't experimenting what we
are experimenting right now.
Speaker 4 (47:52):
Now.
Speaker 1 (47:53):
I think it's too much, it's too cruel. That I
feel happy that that I can help to put the
name of my country high. I wanted to always through
my art, like I said, to you. It's very important
we as an artist, we always talk about good things
(48:16):
and be careful.
Speaker 4 (48:17):
What we say, be careful the message we sent, because.
Speaker 1 (48:25):
I always tried to talk in a positive way about
old people, all humans. So I think being able to
or being recognized by the government, it's important because in
that way we can show that we came here to
(48:46):
create community, We came here to help build community instead
of doing something wrong. So yes, it was very very
nice condition. And another thing is I always I work
(49:07):
with the consulate Colombian consulate here to helping to put
some exhibitions on the consulate. I work as a volunteer,
so it is not like I just moved as an
artist doing art. I move as an artist helping other
(49:30):
artists too, creating community, showing people that our people are
doing good things, always through art, but not just painting
in my case.
Speaker 3 (49:44):
And how about the women.
Speaker 2 (49:46):
Have you seen a gross in the numbers of women
that have gained international recognition?
Speaker 4 (49:52):
Everywhere?
Speaker 1 (49:53):
Women are being more recognized, even though not as much
as we should. That is not just in the field
of as a painters, for example, it's always like we
have to work harder to be recognized because for example,
you see the chefs chefs, most of the chests are
(50:16):
that are famous or men, but always women have been
the ones that have been cooking. So it's the same
thing in these other artistic fields or always the attention
is more around me. Even though I think now opens
are a little bit more open for doors are a
(50:38):
little bit more open for women, and we have we
still have to keep working hard to get the same
recognition and Colombia. Yes, I have seen some artists that
new artists that have making very good, that are doing
very good. I'm not very good with names, but all
(51:01):
that I am. For example, she's not a painter, but
she's tapestry and she's very well recognized in this other
girl her last name is Radio.
Speaker 4 (51:15):
She's very good too.
Speaker 1 (51:19):
Yes, we have very good artists that still most of
the time you see men.
Speaker 2 (51:26):
I read somewhere that you said how you believe in
the importance that art has to create bridges of communication
and inspiration to build and improve communities.
Speaker 3 (51:36):
Do you feel that part.
Speaker 2 (51:38):
Of your creative soul is as important as the art itself?
Speaker 4 (51:45):
Of course, I think it is mainly my art. I
think to art you can I mean what.
Speaker 1 (51:56):
I'm trying to do with my art is to show
people that we look so different, but we are so alike.
So that's the way we can create those breaches. Because
when people get in touch with one of my pieces,
for example, and then we started to talk, we realized
(52:18):
that we at the.
Speaker 4 (52:20):
End, we are so alike.
Speaker 1 (52:21):
So that's the way to create community when we instead
of seeing differences, we see so many similar things that
we have. So I think when I put my soul
in my art is the way I open my life
to others too. It's like getting naked in front of
(52:44):
other people, and it's like allowing other people to get
closer to me. And that's the way I create community
when I surrender myself like Okay, this is who I am,
this is what I feel.
Speaker 4 (52:59):
And then when I with them and.
Speaker 1 (53:00):
They said okay, or they express okay, this is what
I feel too, even though I am from Serbia. For example,
I have a very good friend that she is a
very good friend now, but we made through art, and
now when we communicate, we see that we are not
(53:21):
that different. We are so much closer than when we think.
But everything we were able to discover that through art.
Speaker 2 (53:29):
What do you think art has taught you in terms
of your personality and maybe influenced your personality in some way.
Speaker 4 (53:39):
I think.
Speaker 1 (53:44):
Being curious very important. I think being brave somehow because
exposing yourself is it's not that easy.
Speaker 4 (54:03):
So it's like this process have teached me that.
Speaker 1 (54:10):
No matter what what people think, what they say, you
are able to to do it to you have the
courage to do it, and you have to keep doing
that because it's something that you feel passionate for and
you have to keep finding the courage to keep doing
(54:30):
it because as an artist, you expose yourself so much.
So I think that's why this has been teaching me
that being courage.
Speaker 4 (54:41):
I'm curious.
Speaker 3 (54:44):
So what are you working on this year, Catalina?
Speaker 1 (54:49):
I am working right now in a series made with
ceramics and fibers.
Speaker 4 (54:56):
I am experimenting with this new medium for me.
Speaker 1 (55:01):
I didn't show yet any of my works that I've
been doing during this year because I wanted to show
it when everything is done complete, So hopefully for at
the end of next year, I will be able to
show the whole series. I'm still in the face of
investigating things, looking what happened?
Speaker 4 (55:23):
If I add this, what happened if I do this,
since my.
Speaker 1 (55:29):
My developed as an artist always has been more like
a self thought. So I am in this process right
now to discover what can I do with this new.
Speaker 4 (55:43):
Media that I am experimental with.
Speaker 1 (55:45):
Still I paint, but I'm not painting that much because
I think. I mean, when I started to paint, it's
like my mind is right now in the ceramics. So
I said, why should I do this if I had
my mind in this other thing.
Speaker 4 (56:05):
So this is what I'm working right now on so
many possibilities.
Speaker 2 (56:10):
It must be great fun to take this journey and
explore in so many different directions, very satisfying for you.
Speaker 1 (56:17):
Yes, yes, I think art it has infinity possibility, so yes,
And I don't agree with the idea that you have
to get sticked to just one style, to one thing,
because it cuts the possibility to keep growing and evolving. So,
(56:38):
like I said, it's not about being commercial. It's more
like being an artist and keep exploring things to see
what happened.
Speaker 4 (56:46):
And of course there will be a moment where I
will go back one.
Speaker 1 (56:51):
Hundred percent painting, but right now I am in this
other phase.
Speaker 2 (56:57):
Well, it sounds like a lot of fun, and we
wish you the very very best with all of It's Catalina,
and thank you so much for taking time to come
on the podcast.
Speaker 4 (57:06):
Oh, thank you so much for this invitation. I feel
honored with this.
Speaker 2 (57:11):
Thank you, and do join us over on YouTube now
because that's where Catalina and I are heading to give
you a little bonus content. So look for the Art
Podcast on YouTube and catch us there. Remember to like, follow,
and subscribe on your podcast app and of course on
Instagram where you'll find us at the Art podcast that's
(57:32):
Art with two A's. You can also find links to
Catalina's social media and her website are in the show
notes accompanying this episode. Just scroll down below the player
in your podcast app. And if your interest is in sports,
don't forget that's where I started off was with the
WIST Sports Network and you could find literally one hundreds
over thousand episodes about women in sport, in all sports
(57:56):
and all aspects of women in sport. That's on the
WIS Sports Network.
Speaker 3 (58:00):
Just look for.
Speaker 2 (58:01):
WISP podcast Network on any podcast app. And of course
there's Call Time, the new show that you heard about earlier,
and that is of course on any podcast app for
women in all departments of film and television. And speaking
of film and television, I'll be back in two weeks
time when my guest will be the BAFT and nominated
(58:23):
cinematographer and marie Leen vicou So. I do hope you'll
join me then. In the meantime, thank you again to
my guest this week, Katalina Gomes Bert, and to you
for listening.
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