Guillermina's practice and investigation has been largely focussed on embroidery, evolving from a traditional pointillistic technique, to a sculptural object, or the book-object, passing through a form of iconic embroidery which uses simple or very complicated figures to achieve a distinctive colour, form and texture.
Following thirteen years of practice and teaching she has experimented with some lines of her work by, for example, subjecting it to formal limitations, or guidelines imposed through instructions of use. Within this context she explores the way in which the compositional elements are organized in different ways over a support that comes with set information. Embroidery, patterns.
Her work can be ascribed to the concept of work in the sense of the labour involved in embroidery, but also in the use of a manual of materials and tools. She is particularly interested in working on embroidery given these "neo-mediaeval" conditions, in challenging or critical situations. In this way she has incorporated drawing, sculpture or the sculpted object, ceramics and also found objects from markets and fairs, or from her own studio and personal collection, such as antique frames, fabrics, reels, scissors and threads.
In one of the exercises of the last months, the Site-specific installation appears as a possible side-line to her work, presenting she with the challenge of not losing her essence implicit in the change of scale.
Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
Maybe the work that is nearer my current mood is one that has no title. Is about the union of two light spectrums formed by a very bright color’s variety. The technique I used for this work is the same I use for every color pencil work (something I hated as a kid, and the reason for which I painted in circles): I paint horizontally, in little strips, so that the colors step on each other- Every strip has a number of layers of different colors, that suggest different sensations. It’s a hard and monotonous process, which I do slowly because it clamps my fingers.
2. In general terms, how would you suggest to approach your work?
I don’t think there is one only way. I don’t think any piece of art is for everyone, I believe each work can be understood when there is a certain empathy between the artists and the spectator, like a magical contact that takes part in to hearts or minds that find themselves in a message, in a piece of art. Maybe it’s just a matter of standing in front of a piece and wait. That is the only thing I can suggest.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
I have no idea. I just do what my soul makes me do. There are many artists that I’m interested in, or artists that are referents to me. My major influence has been Paul Klee.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
I remember a Xul Solar one, many years ago. I’m not sure what was that impacted me, but I can still perceive the pictures in that exhibition, like photographs, saved inside me and a mystery sensation.