Alexandra studied painting at Corriente Alterna school of Art. She currently lives practically between Lima and Cuzco.
She has decided to work on the interpretation of the QUIPUS. Not from a representation or mimesis but from the material itself. She ties recycled ropes, wool, cotton or fibers to trunks of trees as a result of recent tears (manifestations of the Niño Current, a result of our indomitable and periodic nature). With this as a whole the memory of the past is integrated in the present as well as a link to special cultural distances. The desire to recycle manifests the sense of giving value to what we consider has already come to an end.
In opening and closing circles which could be associated to cycles of healing or rebirth, Alexandra seeks – intuitively or by a creative impulse – to create a trend of thought to the newly created QUIPUS , thus connecting the past, many times not understood, to the life of the QUIPUS now static and behind security of glass and without quipucamayoc – as living creatures, articulated by its own dynamic which covers us and woos us into a transforming scenery of a secret humanity.
It is thru the quipus that Alexandra shows its femininity at its highest creative potential and which contains a very ancient DNA, with symbols related to more sumblime thoughts which help to transcend the spirits beyond its physical existence.
Lamps development project began as a collaboration with world renowned interior house design luxury Britto Charette which is based in United States. The first piece of this type was exhibited at the Casa Cor design fair in 2015, quickly capturing the attention of the media.
Like the rest of their proposals, the lamps are designed and produced upon request, always considering the context in which they will be implemented.
In parallel and totally intermingled are the mobile and lamp projects.
These pieces are an alternative of smaller dimensions that create a visual experience of constantly moving shapes when driven by drafts.
For the artist, the mobiles work as protective objects that ensure the well-being of their owner and the harmony of the space where they are displayed.