Maria Eugenia Moya
Bio
Maria Eugenia Moya (Lima, 1985) is a visual artist; Master of Fine Arts in Sculpture from the Rhode Island School of Design (RISD 2018 USA) attended to with a partial scholarship from the same institution. Bachelor of fine Arts from the The Art Institute of Chicago (SAIC 2013 EE.UU.) Bachelor of Arts in Audio-visual Communications from the Pontificia Universidad Católica del Perú (PUCP 2008 Lima). She’s participated in group shows in Lima, Providence, Chicago, Buenos Aires, Boston and New York. She opened her first solo show in Lima “What you see is not what you get” (2016). Ex co-director of the gallery Project Gonzalez y Gonzalez Lima. Early on 2022 she participated in the ceramic’s art residency at the European Ceramic Work Centre (EKWC) in the Netherlands. She’s is currently participating in the first Material Biennial in China with the piece “Haptic Self Portrait”
Maria Eugenia lives in Lima - Peru where she develops an interdisciplinary art practice while also working as an Art and Design teacher in higher education.
Statement
The body can feel weight without carrying a heavy object, softness without caressing a smooth surface, or warmth without a temperature rise. The brain is wired in such a way that when it sees an object it can already understand how it would feel on the body. Sight can entice every other sense without directly engaging it. Perception is the interpretation of sensory information through the nervous system that allows for the understanding of a situation. When I refer to our sensorial system, I mean to go beyond our five classical senses. Cognition is a permeable membrane unique to every individual, and as such biased and malleable. How can the sensations of time, balance, memory, or connections be transmitted through materials; ceramic, concrete, metal, plaster?
Perception is the backbone of my art practice; perception both of the self and the space-time it exists in. In recent years this exploration has turned toward my own body. I’ve used it as a tool for two and three-dimensional work attempting to capture gestures, moments in time, crevices and voids in tangible forms. Bodily work tends to incite bodily responses in either a sort of sensorial empathy, or for lack of a better word, synesthetic perception. The body knows, and as it perceives it generates meaning. It can touch with the eyes and see with the hands.
