Process

Creative Process

Feeling as Method

Feeling as Method

Claudia Carmona's creative process begins with feeling. Before any technical gesture, there is deep listening — to the material, the space, the time. The wood is not chosen: it presents itself. Each trunk, each knot, each fissure carries a story that precedes the artist, one she learns to read with her hands.

This sensory method defines the entire practice: touch precedes form, intuition guides the chisel. There is no prior sketch because the sculpture already exists within the wood — it is up to the sculptor to reveal it.

Listening

Listening to wood means understanding its grain, its internal tensions, its limits and possibilities. It is a silent dialogue between matter and gesture, where respect for the material defines the language of form.

Claudia describes this moment as active meditation: eyes close, hands traverse the surface, and gradually the sculpture begins to whisper its own form. The studio's silence becomes an instrument.

Time as Co-author

No work by Claudia Carmona is made in haste. Time is a fundamental ingredient — not just execution time, but waiting time, drying time, observation time. Some pieces rest for months between one intervention and the next.

This respect for the material's natural time gives the works an organic quality that cannot be simulated. The cracks that appear, the twists of fiber, the marks of aging — everything is accepted as legitimate expression of living matter.

Imperfections

In the Japanese tradition of wabi-sabi, beauty resides in imperfection, impermanence, incompleteness. Claudia Carmona embraces this philosophy naturally: fissures are not defects, they are drawings; knots are not obstacles, they are points of strength.

Each mark on the wood tells a story — of winds faced, seasons lived, storms survived. Preserving these marks honors the material's biography and recognizes that absolute perfection is sterile.

"Wood does not lie. It shows exactly what it has lived."

— Claudia Carmona