Ursula and the Art of Learning from Another Place

In conversation with Barbara Niveyro

I met Ursula in 2015 through a mutual friend, probably in a bar or in one of the hallways of 'the league' (The Art Students League) in New York, during that hazy time of our early twenties, filled with enjoyment and lingering questions. Ursula, besides being a vibrant artist like the colors on her canvases, is a consistent woman, as her words, ideas, and actions hug one another. She is also, at times, a woman-child, which is reflected in some of her artistic traits and because she retains the treasure of innocence. Today, she exhibits at the New York Academy of Art, and this is my way of honoring her. Please, come and read.

All the artworks in this article are by Ursula.

How would you advise someone who wants to pursue painting but doesn't know where to start?

I would start with the hardest part: it is very difficult to make a living from art and it requires many sacrifices. Everything is very relative and you will encounter many struggles. Success is not necessarily rooted in effort and talent, as it is often a classist world full of elites, which can lead to high levels of frustration. However, this does not mean that there is no room for people outside this world; although the struggles may be longer, anything is possible.

I would recommend applying for residencies, researching if the work dynamics and interests are compatible. This way, your chances will be greater, and once in these programs, it will be easier to create and discuss your projects if you seek out spaces that align with your vision. Also, if you have the opportunity to travel and connect with other communities, your knowledge and ways of thinking, in my experience, will greatly influence your growth.

One of the most important things is to be willing to learn from others. Education in painting does not necessarily have to be at the university level, but learning the basics and how to use mediums is essential to building and deconstructing the ideas you want to portray. I believe arrogance is a bad quality in an artist. It is good to believe in yourself and your talent, but you do not need to be arrogant. Arrogance can sometimes hinder your growth, and in art, criticism is something you will have to deal with constantly. It is okay to receive it and take the good and leave the bad with humility and maturity.

If you had to self-portrait with one of your works, which would it be?

I have done some self-portraits, and I believe these come closer to a true representation of myself. Even if they are not realistic, for me they portray who I was at the moment I created them. I like self-portraits because I consider them a valuable way to understand my mental state at that time.

I also believe that, at times, I see myself reflected in my work in various ways. I often start from imagination to create my images, which can lead me to use my own figure as a model frequently. Since it is the only physical figure I have at the moment of painting, this influences the final result.

1) Imagen de hombre exotico 2) Autoretrato 3) Ruta de la muerte

Your art is political. Why? What issues concern you?

I believe that art always takes a political stance. Artists do not just paint from imagination or feeling; they also represent the social and political moment in which they live. As we grow and understand the world better, art accompanies us and reflects the reality of our environment. I grew up in Peru, a country with deep social, economic, and political problems since the time of colonization. Like many Latin American countries, our communities have suffered various tragedies and abuses. Talking with my father about his youth leads to stories of dictatorships, poverty, and corruption; if I speak with my grandfather, I hear similar accounts. Peru lives in constant violence from the state.

From the rubber boom in the 19th century, through the exploitation of guano, to the current illegal mining, we have seen the devastation of indigenous communities, water pollution, and deforestation of the Amazon. The communities of the jungle, the highlands, and the coast suffer dehumanization and degradation. It is painful to see the country I love being destroyed by criminal thieves who have no interest in improving the lives of the majority of the population.

Historia de una dictadura

I was fortunate to grow up in a home where I never lacked anything, and I often feel guilty for having been detached from the reality of the country for years, being an ignorant and indifferent person. In my house, politics was discussed among adults, but we weren't taught much about it, and in school, they didn't delve deeply into the history of Peru and Latin America. They taught more about Europe, and it was necessary for me to leave the country to understand my origins and gain valuable lessons about life and humanity.

Although my art strongly criticizes politics and the use of power, I believe its only purpose is to reflect a world in decline, even though I don't know the objective of those who perpetuate this situation. The injustice I observe troubles me, and I find the indifference towards these problems incomprehensible.

Have you collaborated with other artists or thinkers?

When I returned to Lima in 2016, I collaborated significantly with several emerging artists. I came back to create a cultural space where artists in the country could develop and exhibit their projects. Over the next four years, I worked alongside various artists, assisting them with installation processes and engaging in conversations about their work. This period was one of the most beautiful times of my twenties, and I learned different ways to create. Each artist was different: one was a photographer, another a ceramist, and another a painter. Among the artists were Eu Taze, with his gigantic cardboard sculptures; Javier Bravo Rueda, a ceramist who experimented a lot with firings and created abstract pieces; and José Carlos Tassara, a painter who, while conversing, could create images in a matter of minutes.

Additionally, during my early years in New York, I met many artists and good friends who remain part of my life at The Art Students League. During my time there, I engaged in discussions that helped me grow in my work. Betty, an older lady, became very important to me during those years when I was experimenting with abstract art. We did some collaborations that I cherish as my best moments in New York.

How has your relationship with technology evolved in your creative process?

I don't have much of a relationship with technology. I work with my hands and create in a very traditional way, using canvas and paint. I also experiment with ceramics in an artisanal manner and with printmaking, which I learned traditionally. I am not very tech-savvy, and so far, it hasn't been necessary for my art. I enjoy painting and creating things manually. However, at some point, I would like to explore installations and work with video and sound. That would be my potential path into technology in art.

1) Semillas 2) Femicide

Who inspires you? What's your creative process like?

Art is a language that connects us all, and what inspires me is the possibility of creating that connection between Latin America and the rest of the world.

Who was Ursula in 2014, and who is she in 2024?

In 2014, I was painting abstract art and thought that studying academic art was a waste of time. Life was hard, and living in New York was often difficult. I understood what it was to be discriminated against because of my skin color and my place of origin. I spent a lot of time alone, painting constantly, but I was still far from understanding what I really wanted to paint and why I was fighting so hard to make art. I wanted to leave Lima and never return. However, I grew enormously, met many people from different places, and learned about various cultures thanks to them. Although I had a thousand stories and it was chaotic in many ways, I enjoyed that period a lot. Finally, I returned home to Lima in 2016 and realized how much I needed to be away. Despite everything, I am very grateful for those years.

In 2024, I returned to New York, and this time it was much more difficult. I suffered a lot from being far from home. Being older and more immersed in reality brought me a lot of sadness. I went back to school to study academic art. Now I am finishing a series of works that I am very proud of. I am sure of what I want to paint and who I want to be. I learned to accept criticism, to be more humble, and to love my Latin American identity. I dream of showing my work, understanding that the struggle is long but believing that it is possible.

Ruta de la muerte 3

︎ MY LOVE TO DISTORTION BY SHIS UNUSUAL

Ursula and the Art of Learning from Another Place