I was fascinated by nature when I was a child. My grandparents had a cottage where we spent every Sunday, in autumn, winter, spring and summer. The sounds of the birds, the singular form of the olive-trees, the ground… To find inspiration I need to read – not only books; I read situations, persons, and historical moments… I watch the movement of things as if I see them for the first time to find its pure quality. The transition, the process itself is what matters. I can find inspiration in each situation; everything depends on my inner state.
I started my approach to art through traditional Spanish dance and flamenco when I was just 4 years old, an activity that lasted until I was 16, just when I was in high school studying arts: painting, sculpture, drawing and design. Then started my interest in philosophy, religions and psychology, which led me to study Psychology at the University of Granada. In parallel to my university degree, I studied philosophy of traditions, drama, naturopathy and Qi Gong, disciplines I graduated in and which gave me the bigger and integrative perspective about arts, health and human behaviours.
I have been actress and singer for five years in the project International Arts Theatrical Resource “The Song of Songs”, directed by Sergey Kovalevich. It’s a project based on an artistic research at all levels, following the principles of Ritual Theater of Grotowski, Klim and the principles of traditional singing as oral transmission and resource of vitality, regeneration and healing. It was for me a personal and in the same time artistic experience of transformation.
Currently, I get acting classes for interpretation, voice and movement in the Acting-studio Corazza in Madrid, where, with physical training, my imagination discovers a new atmosphere by getting to know new results and new ways to approach creativity. At the moment I’m fascinated by doing research about the worldview and the knowledge from ancient cultures and original traditions around the world to connect roots and knowledge with practical behaviours. In Madrid, there is a lot of cultural movement, and as it is new for me, I believe, it will give me fruits for the future or better: the next present.
My flow of creativity has always been going back and forth in the form of poems, stories, drawings, music and philosophical approaches to human behaviour towards the world. All my questions are dedicated to understand the axis and the sense of life and how the human dimension fits in it: the behaviour of Cosmos.
Art and creation gives me the possibility to gain decoded information that exists in the universe and sensualizing it in a more concrete way, such as drawing, poem, play or musical, is in my opinion the source of wealth and the reason to share it.
The essential ingredients for me to have a productive flow is a teapot full of tea with honey in my bedroom, lights, meditation and to be grateful to universe… it is like a ritual for me. In my work I keep in mind the healing power of art as an ancestral medium of transformation and the true ancient alchemy that merges humanness with sacredness.
- Peace, peace in sense of responsibility – To know I am doing what I have to do, what I can do, and what I want to do.
- Love without condition for each process in life – from this you will know what to do.
- Colours & style: Dare to wear colourful clothes with a touch of style.
- Inner and social World: Let’s get a little crazy.
- Don’t take anything personal nor too serious.
short storiesby nazaret luna
She is sitting down in a wheat-coloured rocking chair at the foot of a beautiful meadow. Birds are singing; clouds are drawing outlines in the sky. It is mid-afternoon and the sun has not reached the horizon yet. She does not have to tell the reason why she is doing what she is doing. Now she sees that darkness attracts the dark and, like a black hole, swallows the luminous energy. Life goes beyond complaints, beyond reason and intellect, where her mouth does not speak and her ears do not suffer when hearing swearwords. She goes up to the next building of Creation. She uses mechanical stairs.
The actress, on bare feet, walks by in a white room. Silence invades everything. Her body is covered with a long, black skirt. She extends her arms like a bird extending its wings, signalling the time with her steps on the floor. She starts spinning on her own axis in the same direction as the Earth does. She knows she is giving life to an ancient custom. She listens to the silence resounding in the room of superhuman dimensions; she needs silence. A blessing goes through her, and then she sings.
Where every night the galaxy infinity got reduced to a tiny point of her pen leaning on a yellowish sheet of paper in the light of a candlestick. On the sheet, the quill moved from side to side as if moved by the east-to-west and the north-to-south winds. Suddenly, the cardinal points star flowered and its petals ooze the fragrances of that melody which, silently, accompanied the music’s score to the cello. Like dancing, the ink lines started to appear, the words were being written by themselves as if they were messages from other times, and the space expanded in a second and extended to the whole galaxy. The heart beating was signalling the rhythm of the score, almost invisible and precise.