Mexico’s Mining Industry

58 Negocios ProMéxico | The Lifestyle Negocios ProMéxico | The Lifestyle 59
I tried to replicate the paintings I’d sold because I felt I needed
them, but it was pointless; they weren’t the same. It was unsettling
to think a part of me was leaving with a stranger and it unnerved
me to think it would always be like that, so I asked myself: “What
field would I like to work in where I can continue being creative and
make replicas of my work without having to let go of anything?”
That’s how I came to study at IES Moda Casa de Francia.
—Although eventually you went back to painting, what did you
learn from making clothes?
I had great fun experimenting with fashion. I won awards and
appeared in publications. I also made some good friends, like the
designers at Trista. For two whole years I stopped painting but my
illustrations improved enormously. I was serious about fashion but I
needed to paint, so I went back to fight for it.
—Why did you choose Berlin as your artistic lair?
The first time I visited Berlin was in 2007 and I felt at home
from day one. I was amazed at the number of international
artists who had made the city their home but, more
importantly, I made good friends from the start: musicians
–like the jazz artist Kurt Rosenwinkel, who asked me to
do the artwork for his most recent album, Star of Jupiter–
photographers, filmmakers, conceptual artists and the like.
What struck me most was the city’s famous motto “Poor but
sexy”. It wasn’t expensive to rent an apartment or a studio and
the exhibition venues were one-of-a-kind –derelict factories
converted into galleries– and more openings, happenings and
performances than I’d ever seen in one place. The thought of
being part of yet another renaissance of a city with so much
history was what prompted me to move there and, so far, I
haven’t been disappointed.
—What has Berlin taught you?
Berlin has forced me to mature and change; it’s given me a
much broader perspective of who I am and of my work. My
approach to my work has evolved over these last five years. The
city is a huge source of inspiration for me for many reasons, not
just the obvious things, like the differences in language, food
and weather when you’re far from your own country.
There have been many changes. I now work with ink and
water engraving, collage and illustrations for magazines on a
regular basis.
—Why the fascination with human faces in your work? Is it
intentional or coincidental?
I began doing loads of self-portraits and I realized how tell-tale
the face is. It’s a very clear, very direct plastic language. The
smallest variance in the curvature, depth or length of a line
can give out a completely different message. I love to observe
people and when I meet someone new, I subconsciously
measure their proportions with imaginary lines. One of the
first conclusions I came to from my observations was that
features have nothing to do with beauty; it’s expressions that
are the key, what really define a person.
—If you hadn’t chosen art as a way of life, what would you be
doing now?
I can’t imagine myself doing anything unrelated to the so-called
“art world”. If I didn’t have a career in the plastic arts, I’d probably
be doing something in a world that offers the same infinite
possibilities, full of color, texture and culture. Maybe that world
could be in the kitchen?
—You’ve started designing jewelry. Tell us about this new
phase in your career.
In 2012, Silvio Dulinsky, co-founder of Artency, came up to me
at Berlin’s contemporary art fair, the Berliner Liste, and asked
if I wanted to join his project.
Artency is a Madrid-based initiative in which jewelers,
plastic artists, architects, visual artists, designers and sculptors
pool their knowledge to create quality jewelry that they turn
into wearable art. I immediately accepted the invitation. The
challenge appealed to me and I was in my element being able to
combine my knowledge of design, sculpture and painting. So far,
I’ve designed eight pieces inspired by brush strokes. The first
molds have already been made and the pieces will be available for
purchase online in February 2013.
—Does that mean Beatriz Morales is headed in a new
direction or is it simply another chapter that will begin and
end before you go back to painting?
I certainly see myself designing more. Design is a field I loved and
where I learned a lot, not only about team work but about the origin
of the materials, which is something I find fascinating. Painting is my
first love but creating is creating and I’m open to every possibility.
—What is it you miss most about Mexico, especially in
relation to your work?
I’m Mexican to the core and I miss my country all the time. I miss
my studio, which is near Tepeji del Río, in Querétaro. I miss being
close to nature when I’m working, in the middle of the mountains
where there’s no cellphone reception and all you can hear are
organic sounds and the occasional bang of fireworks from some
nearby village. Most of all, I miss the people and their warmth, my
family and friends who make me laugh so much. Sometimes I feel
disconnected but when I come back, it’s as if I’d never left. Right
now I’m living abroad but it won’t be forever.
—What are the challenges you face as a painter?
I face numerous challenges which change depending on the
circumstances. The main one is how I relate to my work.
Sometimes I get angry or don’t live up to my own expectations,
which is why I have learned to make peace with myself so I can
start over and keep going.
—And as a Mexican living abroad?
I’m proud to be Mexican, which is maybe why I feel comfortable
living abroad. Sure, the references to Frida [Kahlo] can get
tiresome or if I wear something bright pink, people will try to
justify it by saying I’m Mexican.
—If you could choose a gallery to exhibit your work, which
one would it be?
Every year when I come back to Mexico, it’s gratifying to see
more and more interesting and well-curated galleries and
engaged artists. I’d like to exhibit more in Mexico. In fact, I have
two galleries in mind in the Roma district of Mexico City.
—What’s next for Beatriz Morales?
I’m helping out with the artwork for a new restaurant that will be
opening in March 2013 in the Roma district of Mexico City, on the
corner of Jalapa and Guanajuato. It used to be a hardware store
and I’ll be helping the architects create a space where the table is
the central element, using organic and recycled materials from the
original store and trying to strike a balance between them. n