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In this workshop, we were assigned the task of sketching quick drawings aimed at unlocking our creativity. The objective behind these drawings was to prompt immediate creative output and initiate our creative process seamlessly.

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After the workshops, I noticed that I kept drawing the same things, realizing I was stuck creatively. To break out of this pattern, I decided to try something new like punch needling. I chose colours inspired by Peru, thinking about Donna Wilson and how her art reflects her childhood memories. Similarly, I connected my childhood "colours" to Peru, where vibrant colours fill tapestry art and costumes.

As I worked on this piece, I decided not to stress about getting a perfect shape. I just had fun with it, even if it looked a bit messy. This taught me that the creative process can be a bit chaotic at times, and it's okay. I learned to let my thoughts flow without worrying too much about how it would turn out.

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Presentations are not my strength, I have to say.

The Pechakucha presentation aimed not only to showcase our work but also to polish our professional and eloquent presentation skills. It was a challenge for me.

The format itself, with its concise 20 slides, 20 seconds each, demanded a focused and efficient delivery. It was both a test and a training ground for us to communicate our ideas clearly within a strict timeframe. As we watched our peers' presentations, the room buzzed with constructive feedback. It was a supportive environment, encouraging us to both give and receive valuable insights to enhance our work.

However, due to time constraints, we couldn't catch every presentation, and unfortunately, mine fell into that category. This missed opportunity left me yearning for the chance to break out of my shyness, allowing me to practice and refine my oratory skills. Seeing others navigate through their nervousness and witnessing their growth was inspiring, and I couldn't help but feel that exposure to a variety of presentations would have immensely benefited my own journey toward becoming a more confident and articulate speaker.

Reflecting on this experience, I've recognized the importance of embracing opportunities to step outside my comfort zone, as it's through these challenges that we truly grow. While I may not have seen every presentation, the collective experience served as a catalyst for personal improvement, encouraging me to conquer my nerves and refine my presentation prowess in future endeavors.

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University Challenges and personal Growth

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University Challenges and personal Growth

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Getting used to how things work at this university was a bit tough at first because it was different from what I was used to. I realized that every idea I had was valuable. I figured out that I was holding back my thoughts because I was afraid of what others might think. Looking at my classmates and other creative students who express themselves loudly through their art inspired me.

Even though sometimes I feel like keeping things to myself, I'm determined to break down those barriers and share my story in a more real way. I want to be open myself through my work.

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This is my photograph, I captured a moment from an ArtPerUk in an event where I contributed by capturing images to promote their Peruvian folk dance school.

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Proctores de Textileria Huayllarccocha- Peru trip (2022)

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Proctores de Textileria Huayllarccocha- Peru trip (2022)

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Textile Shop Huayllarccocha

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Peru Trip (2022) - Textile Shop in Cusco

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Peru Trip (2022) - Textile Shop in Cusco

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Scarfs

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Travel buddies walking in front of us

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Peru Trip (2022) - Miraflores, Lima - Retablo Ayacucho

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Peru Trip (2022) - Miraflores, Lima - Retablo Ayacucho

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The making of 'retablos', which are three-dimensional art boxes, has been a part of Peru's history since colonial times. Over the years, this art has changed, combining local and European styles. Retablos are not just beautiful artworks; they also tell stories and help preserve the culture and traditions of the region.

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Donna Wilson showing samples

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I hold cherished memories of my mother, who is no longer with us. This photo captures a moment in a textile shop.

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During my trip to Germany earlier this year, I visited my auntie. To my delight, she still had the dresses my mother wore during her folk dance days.

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My aunt's house was adorned with a variety of Peruvian art. My mother was very connected with her art. My auntie has preserved some of the sculptures my mother crafted.

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My mother, my cousins and me, making sculptures

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My mother, my cousins and me, making sculptures

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Ayacucho, Huamanga, Peru

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Spider ( Picture taken From Google)

The Nazca Lines are big drawings in the ground in Peru, created a long time ago by the Nazca people. These drawings show animals, plants, and shapes. People aren't sure why they were made, but some think they might have had special meanings for the Nazca culture. The drawings are so big that you can see them best from the sky, and they're famous for being a bit of a mystery!

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Picture from Google - Artesian Andean Woman 

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Picture from Google - Artesian Andean Woman 

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Inspired by Judit Just, I gave the punch needle technique a shot. Instead of worrying about the outcome, I let my thoughts flow and expressed my project-starting messiness through the needle. The result? A visual of me figuring out what to do, a reflection of the creative chaos in my mind.

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Running low on ideas, I adopted a strategy for this project by making it a personal exploration of my developmental journey into adulthood. Although I'm aware that the client initially sought work for a specific audience and something that reflected her brand. I decided to focus on this personal conflict I was in, to get working. I view this, as a learning experience, recognizing the divergence from the client's expectations as an opportunity for personal and artistic growth.

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I tried pressed flower art but not sure about this...

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What is it??? Why do I keep drawing people? Eyes? Line drawings?

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I feel like a tangled messy being..

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I gave lino printing a shot, drawing inspiration from Inka designs and symbols but the results weren't quite what I expected. I'm wondering if adding a layer of colour behind or using a higher-quality paper might enhance the outcome.

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About the final project for: The Chicha Poster: Design and Screen Printing of the Popular Peruvian Art

The cartel chicha: design and serigraphy of Peruvian folk art

" Hello! I recommend that the design of your final project is not so complex; In this way, your improvement will be progressive and systematic. Remember that before sketching, it is good to diagram on the sheet the spaces where each element of the composition will be accommodated. If you already have experience in drawing letters; do not abuse elements in the composition, and bear in mind the limitations of this printing technique. Also, if there is something that I have learned and that I have clear is that we can achieve incredible things with few things. As you can see, you can give free rein to your imagination and develop something that fills you with emotion, that has a part of your heart and soul. Keep in mind how important the practice is. I hope that this course has not only helped you to understand the silkscreen of the Chicha Cartel as a process, but also that you have approached all analogous manual processes. Remember how important is the self-criticism to keep moving forward and improving, any additional concern you can count on me. Well, I say goodbye with the joy of having shared my process within the Chicha Cartel and that in everything your imagination will transform it into everything your imagination allows. "

Partial transcription of the video

"Hello again. In this lesson we will review of everything we have done during the course. I started telling you the story of the Chicha poster. Then we talk about my influences, the composition and the elements used to turn the Chicha poster into an artistic piece. Then I talked about the material, the silkscreen techniques and what is the correct process to develop it. also saw the great advantages of this technique, its composition and the use of fluorine ink. Then we started to stain our hands. First we designed the poster with paper and pencil and then cut it out. We put it on the table ..."

This transcript is automatically generated, so it may contain mistakes.

Course summary for: The Chicha Poster: Design and Screen Printing of the Popular Peruvian Art

Category Calligraphy & Typography

Areas Hand Lettering, Lettering, Poster Design, Screen Printing, Traditional illustration

Spanish with subtitles in English

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The cartel chicha: design and serigraphy of Peruvian folk art | "The Chicha Poster: Design and Screen Printing of the Popular Peruvian Art" (elliottupac)

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The cartel chicha: design and serigraphy of Peruvian folk art - a course on The Chicha Poster: Design and Screen Printing of the Popular Peruvian Art. Hello! I recommend that the design of your final project is not so complex; In this way, your improvement will be progressive and systematic.

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Indigenismo, neoindianismo, and the visual arts

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Indigenismo, neoindianismo, and the visual arts

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This journal discusses how artists and intellectuals in Peru, particularly in the indigenista and neoindianista movements from the 1920s to the 1950s, contributed to the study of colonial Andean art. Before formal art history departments, these groups engaged in documenting and discussing art through essays, photographs, and artworks, challenging traditional ideas about art history. Despite their important contributions, their work was often overlooked in mainstream art history books. The article emphasizes the role of artists like José Sabogal and Camilo Blas, who not only created art but also researched and documented Peru's colonial and contemporary artistic traditions. It suggests that their efforts helped create a unified art history that resisted European influences.

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Chicha art, originating in the 1980s, emerged from the cultural clash between indigenous and colonial influences in Peru. Initially associated with the "lower classes," it was used for advertising musical events. Recently revived by a new generation of artists, chicha art's vibrant colors pay homage to Andean culture, shaping Lima's identity. The art style became a form of activism and protest, particularly in response to political events. Pioneered by artists like Pedro "Monky" Rojas Mesa in the 1980s, chicha art adopted a distinctive palette and playful letterforms, drawing inspiration from indigenous textiles. Despite societal class divisions, chicha music and art have become representative of Peru's identity, redefining the term "cholo" and celebrating indigenous culture. Younger artists, such as Bidkar Yapo and the Amapolay collective, continue to use chicha art to express political engagement and support marginalized communities. The article highlights various contemporary chicha artists, emphasizing their role in shaping Peru's visual and cultural landscape.

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Origins of the Chicha art form

Born in the 1980s as the result of a clash between indigenous and colonial cultures, Chicha art has long been associated with Peru's "lower classes." Originally used to advertise musical events, it has been revived by a new generation of artists and activists. Its bold color palette pays homage to the Andean culture that gives the streets of Lima their identity.

Historical and Artistic Context for the Show

Lesley's Director of Exhibitions Andrew Mroczek organizes and creates space for these artists and activists in the Lunder Arts Center. Here, he shares historical and artistic context for the show.

As a descriptor, it would seem that chicha is a catch-all word, often referring to a drink made from purple corn, a musical genre, and a beverage of fermented fruit and grains. Born from the working class, chicha -in any form or usage-has become synonymous with Peru's indigenous culture. Within the last 10 years, presumably ascribable to the 2011 and 2016 elections involving the controversial Fujimori family, the chicha style of art has resurfaced as means for artistic activism and protest.

In the 1960s and 1970s, the influx of migrants entering Lima from Andean and Amazonian regions attempted to carve a place for themselves within the city's cultural landscape, which was seemingly influenced by Europe and the United States. It became clear that the cultural clash would redefine Lima's music scene, with migrants introducing Limeños (residents of Lima) to native Huayno music, while they themselves incorporated newly accessible electric guitars. The resulting fusion is what became known as the chicha style of music, pioneered by bands like Alegria, Los Shapis and Chacalón. By the 1980s it was the most widely played style of music on Peru's radio waves. Along with the explosion of this genre came the need for advertising performances. Local artists began the nightly ritual of pasting screen-printed flyers throughout Lima's streets, which were often removed by city workers at dawn. Artists reacted by producing even larger and colorful eye-catching posters that would, in turn, give Lima's grey streets their iconic, chromatic identity.

The first chicha artists

Though it's widely debated who should be given credit for creating what is now consider chicha art, it's agreed that in the 1980s it was chicha art pioneer Pedro "Monky" Rojas Mesa who provided the characteristic day-glow palette and playfully rounded letterforms. Monky embraced the bright colors from textiles of the indigenous people of the Huancayo region, mimicking brightly colored embroideries with his signature fluorescent pigments. Other artists took notice.

Even though the separation of classes still heavily defines Lima's society today, it is both chicha music and chicha art that has manifested itself as being wholly "Peruvian," while maintaining its status as the aural and visual representation of the working class. Posters for musical bands would give way to screen-printed slogans, sayings, idioms and political ephemera. For many, chicha would redefine the derogatory term "cholo," which is often used to describe a person of indigenous American or mestizo heritage-namely those with tan or brown skin and who have features of Amerindian ethnic groups. Artists like Elliot Tupac would refine the medium and broaden its scale to expansive murals celebrating the indigenous culture-proudly painting "Cholo Power" over a curled ribbon of the Peruvian flag in Miraflores, Lima's upscale coastal neighborhood.

Chicha artists today

Younger generations of Peruvian artists followed suit. Bidkar Yapo of Nación Chicha would alter the first line of the Peruvian national anthem from Somos libres, seámoslo siempre ( We are free; let us always be so), into: Somos cholos, seámoslo siempre ( We are cholos; let us always be so).

Fernando Castro and Carol Fernandez of the Amapolay collective utilize chicha-influenced letterforms and colors within their own work, as well as their collaborations with other artists. Perhaps the most politically engaged of the group, their work supports ancestral heritage, the rights of indigenous people and marginalized communities, and often points to the injustices and human-rights violations of the Fujimori administration-which included mass killings and forced sterilization of over 300,000 indigenous women between 1996-2000.

Equally critical of world leaders and politicians is former prison lord and convicted murderer Lu.Cu.Ma. (Luis Cuevas Manchego) who, during his 27-year prison sentence for killing several people including his brother, found god and art. His large-scale oil paintings often depict prison scenes and politicians with reptilian bodies. Interestingly, Lu.Cu.Ma. was the subject of a VICE feature entitled, From Psycho Killer to Painter. Today, he exhibits his work in prominent galleries in South America and Europe.

Samuel Gutierrez of Familia Gutierrez, a print house in the famed city of Cusco, creates high-end and highly detailed posters celebrating all things iconically Peruvian: the combi, mototaxis, as well as their beloved Viringo, a hairless breed of dog also known as the Peruvian Inca Orchid.

Similarly playful are works by Moises Sants, a self-taught artist who in 2017 founded UPUS Perú-an acronym for Unidos por un Sueño (United by A Dream)-an urban initiative whose mission is to give hope and promote joy among the people of Lima. Born from the desire to interact with fellow commuters, Sants initiates group conversations with riders in Lima, where it is common for workers and students to commute from outlying neighborhoods for 3 plus hours each way. Departing from mass-produced serigraphs, Sants often creates one-of-a-kind pieces merging drawing, paint and watercolor, "I see UPUS making magic every day. I see people sharing stories of hope, and I see laughter now. I see it revolutionizing the street in a city where almost no one greets or smiles at a stranger."

It's impossible to ignore Sants' sentiment. As buses full of commuters noisily make their way through the crowded streets of Lima, it's quite rare to see passengers engage with each other. Perhaps that's common in any large city. But equally undeniable is the joyous, celebratory spirit of those with indigenous and Andean roots.

Where Chicha art continues to thrive

As the sun sets in Lima, and the local bars and restaurants fill with patrons, one can't help but hear conversations and laughter co-mingle with the vibrant upstrokes of chicha music's Andean-influenced pentatonic scale. This is where chicha art truly lives-born from a group of spirited people whose ancestral roots are both brilliant and fluorescent.

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Revolución Chicha: Street Art & Graphics Of Perú

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Born in the 1980s as the result of a clash between indigenous and colonial cultures, Chicha art has long been associated with Peru's "lower classes." Originally used to advertise musical events, it has been revived by a new generation of artists and activists.

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Peruvian Restaurant ''Chicha'' in Lewisham

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Peruvian Restaurant ''Chicha'' in Lewisham

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Finding a connection between my work and Donna Wilson

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Finding a connection between my work and Donna Wilson

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My creative inspiration in this project draws deeply from my childhood and Peruvian heritage. Similar to Donna Wilson's connection to her upbringing, my early experiences play a crucial role in shaping my artistic vision. The vibrant colours, textures, and traditions of my heritage are woven into my work.

Nature, with its beauty and complexity, serves as a profound wellspring of inspiration for both Donna and me. In essence, the connection I share with my clients through my work finds its roots in the nostalgia of my childhood, the vibrancy of my Peruvian identity, and the ever-inspiring wonders of nature.

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Donna Wilson has been designing, manufacturing and distributing her curious creatures, luxurious lambswool cushions, knitwear and ever-expanding collection of home accessories since 2003.

Her designs are made with the finest fabrics in the most vibrant of colours. Chances are you've already encountered some of them in your day-to-day life and travels.

Donna Wilson's story starts in rural Aberdeenshire, where she spent her childhood on her parents' farm: 'We used to have an old hen house that became a cabin of craft... a place to hide from adults and have adventures. I would create sculptures from branches and twigs, make mud pies and serve them in old pots and pans'.

Through these early experiments, she developed a love for the natural landscape, wildlife, and of course, making things - mostly from textiles using handcrafted techniques like felting, sewing, knitting, and wrapping. When she was old enough, Donna packed her bags and set off for London where she honed her home-taught talents at the Royal College of Art.

It's fair to say Donna's studio wouldn't be where it is today without its network of talented craftspeople who help to bring her products to life. Keeping UK manufacturing and crafts alive has long been an important part of Donna's work and she is proud to say that each Donna Wilson product is, wherever possible, made in the UK by people who take great pride and care in their work.

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Donna Wilson has been designing, manufacturing and distributing her curious creatures, luxurious lambswool cushions, knitwear and ever-expanding collection of home accessories since 2003. Her designs are made with the finest fabrics in the most vibrant of colours. Chances are you've already encountered some of them in

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I checked out an artist I like to see where she gets her inspiration from. Maybe it can help me too.

Interview with Judit Just:

Where do you find inspiration for your work?

When I’m working is where I find my most important inspirations, and especially I have found that the more tired I am, the more ideas I get.

As I’m weaving, I usually go crazy jumping on many diverse ideas at the same time like a distracted butterfly. I try to make fast sketches and secure some of the color combinations that suddenly pop on my mind, as fast as possible. Sometimes while I’m on a walk I get some forms, shapes and thoughts. Sometimes I imagine and interpret a song, or a smell or a landscape in a more synesthesic way. Sometimes I dream about certain textures. I’ve always been a little drawn by the concept of synesthesia, a mix of impressions that gets you carried away bringing you to an involuntary secondary sensory pathway. Wassily Kandinsky, the father of abstraction, was a synesthete, always trying to evoke sound through color and shapes and he’s always been a huge inspiration for me.

With my weavings I try to seek the pleasure between the relationship of a tactile versus a visual synesthesia, touching colors, listening to textures, tasting shapes.... perceiving colors represented by certain shapes, and vice versa. But specially, my purpose is to share this experience with everyone else and give them some colorful goosebumps.

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Sarah K. Benning Contemporary Embroidery

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Craft With Conscience: Judit Just of Jujujust - Sarah K. Benning Contemporary Embroidery

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Judit Just is a textile artist raised and born in Barcelona, Spain, but she currently lives in Asheville, North Carolina where she moved in 2013 and where she develops her textile's brand, known by Jujujust. She studied fashion design, sculpture and textile art, where she specialized in weaving and

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These were the drawings I presented in class, and I received encouragement to step into the workshops and studios to elevate my work to a more professional standard. While I initially felt stuck, participating in the workshops boosted my creative confidence significantly.

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This character is inspired by the Peruvian folk dance 'La Diablada.' La Diablada is a traditional folk dance that originated in the Andean region of South America, particularly in Bolivia and Peru. The term "Diablada" translates to "Dance of the Devils" in English. This dance is often performed during religious and cultural festivals. It blends Andean beliefs with Catholicism. It is a dance representing a battle between ''the good'' and ''the evil''.

Traditionally the headpieces dancers wear represent either good or bad figures, like angels and devils. I redesigned the character to blend this two.

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Figures and characters for Window display

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Figures and characters for Window display