About
I am classical trained painter and cultural heritage conservation practitioner, as such art history is a constant source of my inspiration, at the same time my work is influence by my migrant background and the appreciation for syncretism.
My itinerant background is indeed the threshold for my artistic practice. Having left my home country at early age, the memory of the distant land is the fuel that fires my imagination this combined with the experience of the new different lands I have habited.
As a migrant artist, I take the stand of the middle gaze, I am standing not here, neither there, I stand as out looker, as actor, and as a critic that reacts to the immediacy of the events. My work frequently embodies present socio-political contexts.
As an artist, my space is somewhere between the imaginary and the real a sort of magical surrealism. I have on purpose, choose not to work with a single style. On the contrary, I encourage myself to explore, learn and use other historical artists' techniques and styles to create my contemporary works of art.
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Inspiration
I like my art pieces to look archaic, old, and attached to a historic period while relying on the intellectualization and reaction of today's events.
I would like to capture the viewer to the material quality and details of the art object, introduce him or her to the complexity of the material process, and the ways of production to get the final representation.
I hope my work would facilitate the dialogue between history, story, fantasy, and memory.
Aiming to create my own coding system to create a narrative model that permit me to produce art pieces that transform everyday events into a meaningful visual narrative that make sense as a migrant and art practitioner in northern Europe.
By analyzing ‘What’ and ‘who’ is visually represented in Fine art and how this art is displayed in Galleries we can contest and scrutinize the concept of the ‘white canon’ on the arts, which is now been rebuffed by the global contemporary culture.
I believe that narrative base art could aspire to the inclusion of migrant practitioners in their new social environment on the account of the new intellectual demands that are imposed on the migrant artists to create narrative symbologies that can be related to a new audience using accepted.
Fernando Caceres is a Stockholm based Peruvian artist and Museum man. Before his MFA studies at Konstfack, he studied at the AA School of Architecture, the Courtauld Institute of Art in London, and Cambridge University.
As an artist, I feel obliged to memorialize and extend the Peruvian cultural legacies through the means of art. Illustrated by the extensive body of work encompassing painting, watercolour, woodcut, sculpture, and installation art. My practice is not confined to a single medium. In my work, I combine the mastery of historical artist techniques with contemporary psychological renderings of both ancient and contemporary mythologies.
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