PAULA CORTAZAR
X MASSIMO DUTTI

What is your passion and goal as an artist?

My passion is art. I find it magical to be able to communicate without words, to convey ideas, emotions, and thoughts through shapes, colors, and materials. Since before structured language existed, humans have found in art a way to express themselves, especially when there are no words to describe what we feel.

Since childhood, I discovered that art was the way I could communicate. Over time, I realized that it is not just a means of expression but also a way of living and understanding the world. My goal as an artist is to explore the connection between my life, the environment I inhabit, and my work. I live in Parque La Huasteca in Santa Catarina, Nuevo León; every day, I see this incredible landscape, and it inspires me daily. In some way, my work is born from its relationship with this environment, just as plants, birds, or the stones carried by the Santa Catarina River are connected to it.

How would you define your intervention project for Massimo Dutti’s storefronts?

This project is an exercise in observation and interpretation. Rather than intervening with the wood, I wanted to engage in a dialogue with it, to read its forms without imposing anything. I’m interested in highlighting that it is a material that was once alive, that has its own history and unique personality—like every being on this earth.

The veins of the wood fascinate me; their movement is almost like a natural drawing. I believe that on its own, it is already a special piece. It’s a material that surrounds us in everyday life but often goes unnoticed. With this project, my intention was to give it prominence, let it speak for itself, and highlight its essential beauty.

Who are the professionals or artists who have most influenced your career?

One of the artists who most influenced my career was Jorge Elizondo (1953–2023), who was my mentor and introduced me to the world of sculpture, particularly stone carving. I also learned a great deal from painter and sculptor David González (1954), who taught me to observe closely and develop my relationship with painting. During university, sculptor María Fernanda Barrero (1981) encouraged me to explore less traditional materials, which broadened my vision and artistic practice.

In addition to them, there are many artists whose work has marked and inspired me. Among them are Barbara Hepworth, Giuseppe Penone, Doris Salcedo, Louise Bourgeois, Isamu Noguchi, Peter Randall-Page, Anish Kapoor, Miriam Medrez, and Gerardo Azcúnaga. Each of them has influenced my approach to sculpture in their own way—helping me understand the various possibilities of material and space.

ZSONA MACO – FEBRUARY, 25

PAULA CORTAZAR
X MASSIMO DUTTI

How would you define the relationship between observation and nature in the concrete development of your work?

Observation and nature are deeply intertwined in my creative process. They are the starting point for any sculpture or drawing I create. First, I try to visually understand what catches my attention. Sometimes I take photographs, videos, or make pencil sketches to record the details that interest me. At times, it’s a small feature in nature that draws me in; other times, the material itself suggests a direction.

From there, I experiment with those elements without trying to replicate them exactly. I’m not interested in creating faithful copies but rather in interpreting what I see and discovering something new in the process. Often, I don’t have a completely clear idea at the beginning, but as I work, I uncover aspects that ultimately shape the piece. It’s in this dialogue with the material and observation that I make the most important decisions for each piece.

What role does space play in your work?

Space is a fundamental element in sculpture. It’s not just the void surrounding a piece but also what defines it and gives it meaning. For me, it’s essential to walk around my sculptures during the process, observing them from different angles and distances. I need to see how they interact with their environment because perception changes depending on perspective.

I also believe that the space where artworks are born and exist influences them. That’s why I’ve recently started documenting my sculptures within the context of my workshop, surrounded by the landscape of La Huasteca. I use the mountains as a backdrop, along with grass, trees, and earthy ground. I ask myself: if these sculptures were born in this environment, why photograph them against a white background? I’m interested in having the documentation reflect their relationship with the place, telling part of their story.

What is your main source of inspiration?

My main source of inspiration is nature. Its beauty and complexity amaze me; it feels perfect to me. More specifically, I’m inspired by the landscape, mountains, flora and fauna of the region, rocks, sunsets… Walking through this park fills me with ideas and frees me from the fast pace of city life. Sometimes I find peace and inspiration just by looking out the window while working—seeing the mountain, trees, a bird passing by, or simply hearing its song.

Living far from the city isn’t easy; it requires certain sacrifices to be in such a remote place. Recently, during Storm Alberto (2024), the river rose so much that we were trapped on an island surrounded by a strong current. While I didn’t suffer direct losses, access became very difficult. Nature is like that: sublime—sometimes harsh and even terrifying—but that strong side also inspires me. Despite everything, I wouldn’t trade this life with my husband for anything.

What is your dream project?

I would love to create sculptures for natural parks—pieces that interact with the landscape and become part of the experience of being there. I imagine works that invite contemplation and introspection. This is something I want to bring into my own space: together with my husband, sculptor Camilo Garza, we are planning our home/studio—a place where sculpture, nature, and art are part of our daily lives. We dream of a space that not only inspires us to create but also welcomes other artists and visitors who share this connection with art and the landscape.

ZSONA MACO – FEBRERO, 25