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Networking is important from the training stage, as a teacher I have understood and practiced it with my students. Interview with Carmen López by Klimt02

Interview  /  Artists
Published: 16.05.2022
Carmen López Carmen López
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Edited on:
2022
Carmen López. Object: Ceci n'est pas un pipe, 2017. Enamel and sailor's pipe.. Variable size. Carmen López
Object: Ceci n'est pas un pipe, 2017
Enamel and sailor's pipe.
Variable size
© By the author. Read Klimt02.net Copyright.

Intro
Coworking with leadership strategies, brand identity, and conflict resolution capacity is one of the most plausible solutions today. I think that today the opportunities arise through visibility, cooperation, an intelligent initial human and technical investment, and being resistant to discouragement.

Tell us about your background. What were your first influences to be creative and become an artist and what has drawn you to contemporary jewellery?
My relationship with art comes from my environment, the family house smelled of pencils, crayons, and watercolors. My older brothers, magnificent cartoonists, were my references, and making drawings and artistic objects is what I have done all my life.
 
Very young I began to study at the School of Art in Seville, where I graduated in Artistic Ceramics. The following year I took the opposition to Teachers of Workshop of the Schools of Art, where I have taught classes on Ceramics and Enamel. All my life I have belonged to a community of artists, first with my family, then through my studies, and finally through my work. I don't understand the world from another perspective other than that of interpreting reality through the prism of aesthetics and the philosophy of creativity.
 
There are two important dates for me: the year 2000 when I start working representing ceramic spoons and the year 2016, from which my work focuses on metals, fired enamels, and jewelry and also having as leitmotiv the representation of the spoon.
I make contemporary jewelry as an evolution of my career as a plastic artist, I have only changed the format and the study of the pieces so that they can be transported in people, on skin or fabric. I always try to have a narrative character that conveys my emotion when creating them.


How important is networking for you in your professional practice and what are your preferred tools for this?
Networking is an essential way today to work, cooperate and train. The global COVID pandemic has accentuated their need.
Networking is important from the training stage, as a teacher I have understood and practiced it with my students. Equally important is its use in a personal way, to give development, visibility, and growth, it is enriching for all the parties that comprise it.
Belonging to communities of professionals through networks, websites, IG, FB, TW... gives me the opportunity to participate in courses, conferences, and exhibitions are very necessary for me. I feel connected to the world through them and feel that professionally I belong to groups, as in this case KLIMT02, which makes me feel visible and informed.


What are your general thoughts on the contemporary jewellery world, (education, market, development...), where do you see chances, and where are dead ends?
It is a very complex question that encompasses many strategies.
My students have always asked me about professional opportunities, the market to enter, and growth possibilities. The answer is long, but simplifying as much as possible, I would tell you that the first thing is to have the necessary abilities and skills, the most complete and comprehensive training possible. The second is to have energy, illusion, and capacity for work without which we could not undertake any project. And third, to unify capacities, whether they have one-person or group workshops: know the market and know how to support collections of serial pieces with unique ideas and transmit knowledge in specialized courses.

Coworking with leadership strategies, brand identity, and conflict resolution capacity is one of the most plausible solutions today. I think that today the opportunities arise through visibility, cooperation, an intelligent initial human and technical investment, and being resistant to discouragement.
As for dead ends, there are many, but I understand that the most dangerous are those that we ourselves create due to lack of confidence.


Thinking about your career, what role do technology and the digital play in your artistic development and communication?
My status as a teacher has led me to be integrated into the technological world from the beginning, an essential tool for complete training, for which technology and digital are a fundamental part of my personal work processes.
The time I dedicate to this aspect is a significant part of the entire creative research process, I share it with the same emotion as the solitary and intimate work in the workshop.


How has your work changed over the past few years and what are you excited about these days?
There is a before and after COVID. These last two years I have felt afloat thanks precisely to the visibility through networks, cooperative proposals, and online courses, among others.
I am currently excited to have found an intimate space of creation, isolation and loneliness have been a plus to feel more myself in the search for ideas, trips to my interior, reflections on how we live and why and if I can consider changes to discard everything that I think is superfluous and that distracts me from what I am really passionate about, which is to create, evolving based on the moment in which I have lived.
 
Appreciate APPRECIATE