Crucial in Aileen Gavonel's artistic discourse is the interrogation of the blurred boundaries between science and religion, as well as the critical contemplation of the violent imposition of urbanity upon rural fabric.
Within the scope of Aileen Gavonel's artistic practice, the deliberate choice of clay as a "soft weapon" and the incorporation of visual poetry as central elements emerge as fundamental tools. In her material exploration, she dedicates herself to the reconsideration and recreation of techniques and forms of artistic production, grounded in the imperative circumstances of the time and place she inhabits.
The impulses driving her artistic expression unfold around a conceptual matrix addressing issues of utmost complexity. From the fragility inherent in human existence to the transcendence of recovering affection as a healing phenomenon, her work reflects on the healing and ritualistic dimension of everyday ornaments.
Equally crucial in her artistic discourse is the interrogation of the blurred boundaries between science and religion, as well as the critical contemplation of the violent imposition of urbanity upon rural fabric. Her oeuvre stands as a visual statement that confronts the inherent dichotomies within these realms, exploring the intricate interconnections shaping the relationship between urbanity and rurality.
Likewise, utopian narratives play a singularly important role in her creative process. These are not merely conceived as speculative fictions but as reflective exercises aimed at establishing intrinsic links with time, objects, and the body.
Aileen Gavonel holds a Bachelor's degree in Art with a specialization in Printmaking from the Pontifical Catholic University of Peru. She has cultivated her skills as a ceramist through Taller Dos Ríos, a specialized ceramic project co-founded in 2015. As the founder of Casa Volcán (2019) in Chorrillos, Lima, Peru, she established a space dedicated to exploration in applied arts. A member of the 2020-2022 cohort of the SOMA Educational Program in Mexico City, she has participated in national and international artistic residencies, including Goctalab in Amazonas and ID Pool in Aveiro, Portugal. Her works have been showcased in galleries and fairs across various countries such as the USA, Argentina, Spain, and Mexico. Noteworthy mentions include a nomination for the Art Nexus Prize at Arte BA 2018 (Buenos Aires, Argentina), finalist for the ICPNA Prize in 2021 (Lima, Peru), and selection for the Latin American Pavilion, "Nunca lo Mismo," at the Arco fair (Madrid, Spain).
Among her solo exhibitions, standout shows include "Elementos Extraños" (2019) at the Andrés del Castillo Mineral Museum in Lima, and "Brujas" (2018), exhibited both at the Paiján Space in Trujillo and the Museum of Contemporary Art in Lima. She has also participated in numerous group exhibitions, such as "Máximo Acuña, Hawapi" at the ICPNA and "Dar forma al tiempo" at the Museum of Contemporary Art in Lima. Additionally, her works have been featured in "ESTIRAMIENTOS" at SOMA in Mexico City and "Fuente Perversa" at Proyecto NASAL in Mexico City.