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PROJECTS FOR AUBUSSON TAPESTRY TECHNIQUE

DOSSIER

by

MAXIMO LAURA

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PROJECTS FOR AUBUSSON TAPESTRY TECHNIQUE

DOSSIER

by

MAXIMO LAURA

My life offering to our ancestors for bequeathing to us an indelible footprint in time, for being an inexhaustible source of wisdom and pride

along with our land, with our people.

OBRA

1. Description of artistic iZZntention 1.1 Artist statement 1.2 Cartoons 1.3 Cartoons + image 1.4 Cartoons + image + model (weave)

2. Justification of the capacity to compete

2.1 About myself 2.2 Time line 2.3 Curriculum vitae 2.4 Personal grants, awards and prizes

3. Documents presenting the technical constraints of weaving

3.1 Weaving technology 3.2 Tapestry project (from beginning to ending of process) 3.3 Selection of artworks and its process

4. photos, publications, monograph anD main references

4.1 Photos selection of Lauras artworks 4.2 Main publications 4.3 Monograph 4.4 Main references

contents

To think of my ancestors weave heritage is to feel energy, essence, miracles and sublime expression, inexhaustible source of pleasure, inspiration and encounter with harmony between man, nature and thought. In my tapestries, I try to ensure that these sources manifest themselves in the form of light

and hints of my land.

1. Description of artistic intention

1.1 Artist statement

1.2 Cartoons

1.3 Cartoons + image

1.4 Cartoons + image + model (weave)

1.1 ARTIST STATEMENT

The weave is medium to create of sublime beauty, to paint the soul of the people, interpret the spirit of the earth, and leave undying footprints in our passage through time. Yesterday, today and tomorrow our days is possible spent chasing the mystery of the rainbow to capture color, chasing the earth vision of the cosmos to capture the myth of our experiences, chasing the abundant and rich earth mother to capture her fruits and her essence; and transform them with the weave into beautiful signs, enriching and brightening hearts in every nook of the earth.

My work is nourished by symbols, stories, traditions, rituals, experiences, and by permanently returning to admire the iconography of ancestral world cultures, especially South American culture which are extraordinary and fascinating. These experiences inspire me to discover, explore and absorb contemporary visual arts, which exist lavishly, choosing the one that moves me and fits the direction of my visions of totem images, of symbolic characters and landscapes, and of my experience; developing ancestral patterns that are essentially American Andean.

The images are born in my long walks and travels; in exhibits, museums, galleries, books and multimedia information, which stimulate my creative spirit, leading me to near my encounter with vibrant and intense color, with elaborate and symbolic form, as well as with the refined technique of my tool: the loom. Followed by the search of a lyrical, spiritual, poetic language, product of this part of the continent and of this time.

1. Title : Prayer to the four directions Size : 2.20 x 4.95 / 2.50 x 5.62 m

2. Title : Marriage of the sun and moon Size : 1.80 x 5.40 m

3. Title : Celebration life Size : 2.00 x 6.00 m

4. Title : Tribute to the land Size : 1.80 x 5.40 / 2.20 x 6.60 m

5. Title : Spirit path Size : 2.50 x 3.75 m

6. Title : Sacredness night Size : 2.50 x 3.75 m

7. Title : Sacred thunder beings Size : 2.50 x 3.75 m

8. Title : Mistique fest Size : 1.80 x 4.50 / 2.50 x 5.00 m

9. Title : Sacred spirit in jungle Size : 2.40 x 3.20 m / 3.00 x 4.00 m

10. Title : Sacred encounter in the jungle Size : 2.00 x 4.50m / 2.50 x 5.62 m

11. Title : Tree of peace Size : 1.50 x 6.75 m / 1.80 x 8.10 m

12. Title : Tribute to warrior of the ligthv Size : 2.40 x 3.60 / 3.00 x 4.50 m

13. Title : The mystics dream Size : 1.80 x 5.40 m

14. Title : Sons of the sun Size : 1.50 x 4.50 m / 1.80 x 5.40 m

15. Title : Journey to well balance Size : 1.80 x 6.75 m

CARTOON LIST

1.2 CARTOONS

The propose that these designs demands take into account to make more than 6m2

The balance between tranquility and silence; and these are fleeting pauses; very important to become cry and movement; and this is only granted to us if with our astral body, the earth and our spirit are in harmony, then from deep, very deep inside ourselves from our hearts we scream until one becomes light and it floods all around us; and our deities unite in flesh and blood with us.

Title : Prayer to the four directionsSize : 2.20 x 4.95 / 2.50 x 5.62 m

1

Priests danced and transmitted the messages from mother nature, from the sun, from the moon and showed that everything that surrounds us on earth and in space is alive; this dance they called the illness of song and dance. Because according to the people, the dancers were possessed by the mountains and mother earth transferring to their brothers infor-mation about mother nature in which they were told that their commu-nication will never be lost and that the source of energy was still alive. It is the music destined to scare away negative energies. Music dedicated to the Apus invoking protection of the community and of all living creators.

Title : Marriage of the sun and MoonSize : 1.80 x 5.40 m

2

This tapestry represents a harmonic encounter between man and na-ture so that all the established relations between them are fruitful.

Both man and nature benefit when there is balance.

The Eternal Sound, the balance of man and nature, is represented her by man and his musical instruments.

Title : celebration lifeSize : 2.00 x 6.00 m

3

One of lifes truly great experiences is the feel-ing in our hearts when hearing the harmoni-ous sound of music. Music can capture our spirit.

We play our music with instruments that nature of-fers up to us. We fashion instruments for our own well being from objects symbolizing the life force such as bones or wings of the condor or other dear animal.

Music captures the sound of life in the moment.

Title : tribute to the landSize : 1.80 x 5.40 / 2.20 x 6.60 m

4

1.3 CARTOONS + IMAGES

These projects are in the perspective of the renewal of the tapisserie daubusson, including in this time of contemporary American continent vision.

Title : sPirit PathSize : 2.50 x 3.75 m

5

Title : sacredness nightSize : 2.50 x 3.75 m

6

Title : sacred thunder beingsSize : 2.50 x 3.75 m 7

Allegory of beliefs, myths y rituals of Andean culture, whose essence is harmony,between humankind, nature and the gods. Here, it manifests itself in a procession,in the presence of Warrior of Light to enrich the spirit of humankind, whose energy gives them powers to connect with mother earth. The Warrior of Light is the balance and the orga-nizer of the universe.

Title : Mistique festSize : 1.80 x 4.50 / 2.50 x 5.00 m

8

Title : sacred sPirit in jungleSize : 2.40 x 3.20 m / 3.00 x 4.00 m

9

Title : sacred encounter in the jungleSize : 2.00 x 4.50m / 2.50 x 5.62 m

10

This tapestry represents a symbolic landscape of Andean spirituality. They are rituals and visions in the sacred mountains, where men and gods communicate with each other. This is an allegory of the celebrations relating to the main activities in the life of an Andean man. The Totems represent the main gods of Andean culture, spirits that contain in their bodies the ability to release energy, the continuation of fertility, productivity, happiness and harmony. It is also possible to see the moment when change occurs, the movement and energy in these sacred places where forces harmonize. This landscape serves as the receiver of the energies and

powers that contribute to abundance in life.

Title : tree of PeaceSize : 1.50 x 6.75 m / 1.80 x 8.10 m

11

Gratitude is the essence of the noble spirit.The Andean has in the mountain his protec-tor, his Apu (god) to whom he pays homageand gives his spirit, in order to benefit himself from the abundance of the land and his su-rroundings. Each one of his seasons, his main activities and human needs, are on the Road to Sacred Mountain; a road that leads him to growth, happiness and harmony.

Title : tribute to warrior of the ligthSize : 2.40 x 3.60 / 3.00 x 4.50 m

12

1.4 CARTOONS + IMAGES + MODEL (WEAVE)

These projects are designed; take into account the constraints weaving.

Title : the Mystics dreaMSize : 1.80 x 5.40 m

13

Title : sons of the sunSize : 1.50 x 4.50 m / 1.80 x 5.40 m

14

Title : journey to well balanceSize : 1.80 x 6.75 m

15

2. Justification of the capacity to compete

2.1 About myself

2.2 Time line

2.3 Curriculum vitae

2.4 Personal grants, awards and prizes

The world and our lives hold an immense richness. Each of us has an inner beauty and all that is missing is the dis-covery of our artistic side. Whether it is through creation or observation of art we grow closer to our human essence which is peace, silence and balance. For me the weave is a passion that comes from my heart.

2.1 ABOUT MYSELF

I am a passionate weaver that always accomplishes my works of art with love. I was born in the Andes Mountains of Peru where as a child I discovered a liking for drawing, painting, colors and textures. I learned how to weave from my father, who was also a weaver. During my years in the university through exploration of my artistic creativity and innovation, I found my calling as a weaver. It has been twenty-five years since my first art exhibition and today I have had more than one hundred and thirty exhibitions in twenty-six countries around the globe. I am honored to have been recognized and to have received awards for my works. I like tapestries becau-se they allow me to fulfill my dreams, my visions, and to find my inner beauty. The crea-tion of a tapestry is a journey for both tapestry and artist. The journey, from concep-tion of the idea to the realization of the work allows for an intimate relationship between me and the tapestry. It is a pleasure to see an idea transform into a beautiful weaving.

Mximo Lauras tapestry is a project of cultural resistance, a light burning in the tunnel of

time which returns to our eyes a fascinating past, so rich in myths, symbols looking for a

sculptural synthesis of figures and geometries that speak of gods, celestial phenomena, uni-

versal archetypes and integration with nature he goes by the Andean roots with complete te-

chnical command to reach a free form of creation, to the construction of optical poems which

legitimize his art as authentic, profound and personalized. It is more than artistic talent;

its a vision consistent with the solar treasure of the Incas that he erects like a lantern in the

night without respite of our Latin America.

Mario Margutti Brazilian Art Critic

APPRECIATIONS

The motives portray the most important visual settings of the Inca empire, which are used as a present-day interpre-tation and communication form in a style and a language which are very peculiar to the artist.

Alvaro Machado Brazil

Mximo Laura, weaver from and perennial creator, is an example of what can be achieved in the Arts when the me-mory of millenniums is recovered and pride for being an individual and part of a community at the same time is re-covered. Thus, my homage to his work is the recognition of that which is American in his creative spirit.

Zadir Milla Euribe - Peru

Mximo Laura has a profound understanding ans an almost mystical application of the textile techniques develo-ped by Peruvian weavers over the past 3,000 years. His contribution to this art is creative rather than technical.He uses the magical symbols found in the iconographic language of ancestral native cultures, giving from to a lively and strong contemporary manifestation. Mximo Laura has a personal use of color and design ensuing in his own poeti-cal interpretations, in true works of art.

John H. Davis Peru

Mximo uses a questioning manner, an inquiring process. Thus achieving a proper cultural syncretism by bringing closer two such different worlds that always hold us together with the invisible link

Roberto Villegas Robles - Peru

To find humanizad tapestry is an event! Ifeel something alive and throbbing when I look at one of Lauras piecesThese creations are guided by a supernatural hand, a connoisseur of a universe both human and divine Colors polarize the atmosphere and create a nostalgic reminiscence of Andean myths buried under the shadows of jaguars, historical times full of solar treasures protected by human darkness on the crust of this dispersed planet.

Mario Chinotti Italy

After exploring the motives and techciques of the Pre-Colombian weaving and the tradicional Peruvian tapestry, he strove to transmigrate to contemporary tapestry. Laura brings us memories of the Renaissance artisans so much prized by Diego Rivera- who would incorporate in their works knowledge of painting, sculpture and architechture.

Antonio Rengifo Balarezo Peru

2.2 TIME LINE

1959Born in Ayacucho, Peru

1978Enter to the School of Education of the San Cristbal de Huamanga Na-tional University, Ayacucho, Peru.Stage of Andean Mithology (his first collection 1978-1983)He developed the serie called Mythos and Legends

1979He traveled and settled in Lima.

1980He founded the Lau-ra workshop in Lima, Per.He studied in the School of Li-terature of the San Marcos Ma-jor National University Lima, Peru.He developed the serie: aupayuyay

(Reminiscences) (1980-1983)

1981Stage of the de Experimental constructi-vism (1st Time:1981-1984)He developed the serie: Metamorfosis (1981-1983)

1982He leads the workshop Textile design techniques and interpretation in Taller Artesanal Retablo (TAR) , Lima, Peru.

1983He developed the serie: Labe-rinto Tubular 1983-1984 (foto)Stage of Takyonqoy 1983-1998He developed the serie: Choqueruna (Warriors of the light) (1983-1986)

1984-1985Directs the workshop on Techniques of

weave: Arwi and Gobelin in ALA (Arte-sana Laura Asociados), Lima, PERU.His first group exhibition Faces of Peru at the Recoleta Cultural Center in Bue-nos Aires, Argentina.He developed the series: Voices of Ear-th mother (1985-1989)

1986-1987Founder and director of TAT (Textile art workshop) in Lima, Peru. (1986-1988)

He studied weave in the Kela Cremashi workshop. He presents his first solo exhibition Sig-nos Ancestrales in Galera Huamanqa-qa, Lima, Peru

1988-1989He developed Series: Ofrendas in the Andes (1988-1994)

His first exhibition of International le-vel: 1st Meeting Latin-American of Mini Textile Montevideo, Uruguay.Advisory Textile Program of the Centre for Integrated Development of Han-dicrafts (CREDIART) Agreement Peru-Spain, Junin, Peru.Founder and Director of the workshop research of Andean Design and Aesthe-tics Contemporary (TIEDAC). (1988-1991)Solo exhibition Roots and Metamor-phosis in Art Gallery of the Italian Mu-seum, Lima, Peru.

1990-1991Founder and Director of Intiparnakim Workshop (Hands of the sun), Lima, PERU. (1991-1994)His first National Prize Golden Hands, Peru

1992He traveled to Brazil, Ecuador, Paraguay and Spain.He attended to the Conference United Nations Conference on Environment and Development (UNCED) Ro92, Ro de Janeiro, Brazil.His first touring exhibition through South American (Asuncion, Rio de Janeiro, Ni-teroi, Quito)He was awarded with UNESCO Prize for Latin America and the Caribbean in the 4 Ibero-American Crafts Fair in Te-nerife, Canaria, Spain.

1993He traveled to Florida (USA), Finland, Venezuela and Ecuador.He won the 1st Prize Coral Gables International Festival of Craft Arts in Miami, Florida, USA He represents Peru in the Seminar of

Design for experts of Latin American and Caribbean Craft with his conferen-ces: Inspiration of my work and the Pre-Columbian Design and Cultural Continuity, alternative development for the Andean design, in the University of Art and Design Helsinki (UIAH), Finland. Andean Mithology touring exhibition through main cities of Finland (1993 - 1994)

1994He returned to Finland to travel with his touring exhibition.He developed the serie: Yllapa (God of Lightning) (1994-1997

1995-1996He presented the conference Traditio-nal Textile Technology and Contempo-rary at the National Museum of Peru-vian Culture, Lima, Peru.

He founded and directed the Trama Group in Lima, Peru. (1995-2000)The Municipality of Girardot (Puerto La Cruz Venezuela) gives the award for Best International Artist at the IV Ibero-American Crafts Fair.He developed the series: Kusy Pacha (Allegory to the Earth) (1996-1998)It was a founding member and Director of the Center for Textile Pilot AID / MSP - ADEX, Lima, Peru. (1996-2002)

1997-1999He traveled to New York and Ecuador.He participated at the 44th Tokyo Inter-national Gift Show, Tokyo, Japan.Stage of Rituals and Visions (1999-2006). He developed the Ritos Series (1999-2002)

2000He directs the Seminar Weave Nava-

jos and Andeans at the Peruvian Nor-th American Cultural Institute (ICPNA), Lima, Peru.

2001He traveled to Ecuador, Venezuela and USA.It was awarded with the National Prize Grand Master of Peruvian Handicra-ft by the National Culture Institute of Peru, Lima, Peru.

2002He traveled to Colombia, Ecuador, Ve-nezuela and USA.He participated of the 1st Andean Cra-fts Fair organized by CAF in Bogota, Colombia.He developed the serie: Wiay Taky (Eternal Sound) (2002-2003)

It was presented the exhibition: Jewels from Peru XXI Century Silver and Textile at the Art Gallery of the OEA in Wash-ington DC, USA. He received the X Ibero American Crafts Fair as a tribute to Grand Master of the Craft Peruvian Handicraft Mximo Lau-ra in Puerto La Cruz, VenezuelaHe conducted the weaving workshop organized by Puchka Tours, Arequipa, Peru. (From 2002 to present)He received the Medal Juan Pablo Viz-cardo y Guzmn awarded by Congress of the Republic of Peru, Lima, Peru.He established the LAURAS DESING Workshop-Gallery (From 2002 to pre-sent)

2003He traveled to USA and Puerto Rico.He developed the serie: Hatun Raymi (The Major Festival) (2003-2004)

He participated at the Messe Frankfurt 2003, Frankfurt, Germany.He was invited to participate of the In-ter-Agency Project: Alliance Franaise and MUSEF: Looms, between techni-ques and cultures with his conference: The tapestry of the time, La Paz, Bo-livia.Along Jean Lurcats work in the UNESCO, Paris, France.

2004He traveled to Puerto Rico, USA y Fran-ce.He developed the serie: Visions of the heart (2004-2005)The ambassador of Peru in France Dr. Prez de Cuellar presents the exhibi-tion of Laura at the Sofitel Chateau de VersaillesIt was opened the exhibition Rituals and Visions at the Museum of the

Americas in San Juan, PUERTO RICO.He visited the Manufactures Nationales Gobelins, Paris, Francia.He participated at the 4th Meeting without Boundaries International Artist Colony, Bald Head Island, USA.

2005He traveled to Venezuela, Argentina, USA and France.He exhibited at the Inti Gallery in Fran-ce and at the Durham Arts Council in North Carolina, USA.He received the prize Best in Show at the 8th Contemporary Latin American Art organized by Museum of the Ame-ricas in Pembroke Pines, Florida, USA.He was present the conference Wea-ving times at the Syndicat Nacional des Designers Textiles in Paris, France.He visited to Sheyla Hicks

2006He traveled to Costa Rica and USA.He developed the serie: Ukunchiqmayu (Mar Interior)(2004-2005) It was present Mximo Laura Master Weaver of Peru at the National Mu-seum of the American Indian in Wash-ington DC, USAHe participated at the IV International Biennial of Textile Art and Design Man + Woman = Creation 2006 as invited artist in San Jos, COSTA RICA.He co-founded the Iberoamerican Tex-tile Network (Redtextilia) in San Jos, Costa Rica.Board of directors of Redtextilia (foto) Stage of Constructivism (2nd Time: 2006-2009)He developed the serie: Poemas Inter-nos (2006-2009)

2007He traveled to USA, Latvia and Fran-ce when opened Mximo Laura, Tapisseriesat Les Jardins de Magali, in Lauris, Vaucluse.Mximo Laura, Translations Gallery, Denver, Colorado, USA.He was awarded a Honorary Mention at the 3rd European Textile and Fiber Art Triennial Tradition and Innovation Global Intrigue in Riga, Latvia. He developed the serie: Metamorpho-sis (2007-)

2008He traveled to Argentina, USA, Bel-gium, Ukraine and China.The Congress of the Republic of Peru awarded the Medal Joaqun Lpez Antay. He exhibited Ritos y Ofrendas at the Cultural Center of the UNSCH, Ayacu-

cho, Peru.Hometown Government of Ayacucho awarded the Medal Recognition for his work.He won the Bronze Prize at the From Lausanne to Beijing 5th International Fiber art Biennale in Beijing, China. He lectured the conference: Testimo-nio de una experiencia hacia el Arte Textil at the First National Meeting of Weavers Ambrosio Sulca Prez in Ayacucho, PeruHis works was selected at the American Tapestry Biennial 7.He won the Second Prize - Silver Medal in Scythia the 7th International Bien-nial Exhibition on Textile Art, Kherson, Ukraine.He was awarded the Peoples Choice Award in Land the Tapestry Founda-tion of Victoria Award Exhibition at the Australia National University in Cam-

berra.He received the recognition as Ambas-sador of Ayacuchos Culture awarded by Ayacuchos Regional Government, Ayacuho, PeruDeveloped the series: Celebration life (2008-)Developed the series: Nuestras Races (2008 - )

2009He traveled to Argentina, Bolivia and USAHe exhibited Maximos Peru at the ACME Art Studios in Wilmington, NC, USA.Mention Prize, 5ta Bienal Internacional de Arte Textil, Palais de Glace, Buenos Aires, ArgentinaHe participated in Connections: Small Tapestry International 2009, San Jose Museum of Quilts & Textiles, California,

USA. He won the First Place in Small Ex-pressions 2009 at the Mississippi Craft Center, Mississippi, USA.He received the major national prize Gran Premio Nacional Amautas de la Artesana Peruana awarded by Minis-try of Foreign Trade and Tourism.

2010He received an Honorary Mention Award at the 13th International Trien-nial of Tapestry in Lodz, Poland

Invited artist at 4th European Textile and Fiber Art Triennial Tradition and Innovation Global Intrigue II. Age of the time (solo exhibition) at the Mu-seum of Decorative Arts and Design, Riga, Latvia

CURRICULUM VITAE1959 Born in Ayacucho, Peru eDucation

2006 Seminar of Creativity, by Master Silke, San Jos, Costa Rica.

1987 Contemporary Weave in Kela Cremashis workshop (Argentina).

1985-86 Seminars-Workshop of Art and Andean Design, by Zadir Milla, Lima, Peru.

1980-83 Hispanic Literature, Mayor de San Marcos National University (UNMSM), Lima, Peru.

1978-79 Education, San Cristbal de Huamanga National University (UNSCH), Ayacucho, Peru.

1973-74 National School of Fine Arts of Ayacucho (ENBA), Peru.

1966-74 Ayacuchos woven in Miguel Lauras workshop. Peru.

main lectures

2010 Makiykumanta - Peru: Arts and Cultural Legacy. Master Class: Testimony of living between Fibers and Colors (How to find the Weaving as Art), National Museum of the American Indian (Smithsonian Institution), Washington, D.C., USA

2009 Calidad y Sostenibilidad. Su Impacto en la Comercializacin en la Pequea Empresa Artesana de Amrica del Sur, Centro de formacin de la Cooperacin Espaola, Santa Cruz de la Sierra, BOLIVIA. Conference: Modernidad con identidad: La importancia de lo simblico en la artesana, Uso de smbolos en la Textilera Peruana Auditorio PromPeru, Lima, PER.

2008 Conference: Living with fibers and colors, Ritos y Ofrendas, Centro Cultural de la Universidad San Cristbal de Huamanga, Ayacucho, PERU. Conference: Successful Experiences: Artists and artisans drivers of cultural identity, Regional Bureau of Foreign Trade, Tourism and Handicrafts, Iquitos, PERU. Conference: The Peruvian Textile Art and Avant-garde Art, Symposium on Art and Literature, Cientfica del Sur College, Lima, PERU. Conference: Testimony of an experience to the Textile Art, First National Meeting of Weavers Ambrosio Sulca Prez, Ayacucho, PERU.

Scythia 7th International Biennial Conference on Textile Art, Kherson Local Lore Museum, Conference: Rituals and Visions Textile Art in Peru. Kherson, UKRAINE. Conference: Textile Design, II Congress Tourism and Sustainable Architecture, Formosa, ARGENTINA

2007 Conference Textile Art Modern Art. Interpretation of traditions in global context: Ritual and Visions, International Conference on Textile and Fiber Art GLOBAL INTRIGUE. George Hall of the hotel Konventa Seta, Riga, LATVIA

2006 II Congress 5000 years of Amerindia Architecture, Formosa, ARGENTINA II Business Forum: Living among fibers and colors, Ayacucho, PERU

2005 Conference: The Design on Textile, First International Fair Textile Art: Texture and Color. Foyer Main Hall, Caracas Hilton Hotel, VENEZUELA Conference: Tapestry and Textile Innovation, Lima, PERU. Conference: Mximo Laura artiste peruvien du Tapis a Paris, Centre Culturel Peruvien. Paris, FRANCE Conference Mximo Laura, un artiste noss presente son Art du Tapis, Maison de LAmerique Latine, Paris, FRANCE Conference: Weaving Times, Syndicat Nacional des Designers Textiles, Paris, FRANCE. Conference: Color on Textile, Musee De Bibracte, Mont Beuvray, Paris, FRANCE Conference: Contemporary Peruvian Tapestry, Denver Design Center, Denver, Colorado, USA. Conference: Textile Art, Museo Exploris de Raliegh, North Carolina, USA Conference Laura Tapestry, Integrated Textile Art Center, Crdoba, ARGENTINA Conference: Designing craft product like single piece and artistic, Auditorium PetroPeru, Lima, PERU.

2004 Presentation: Weaving our Roots, Auditorium of San Marcos Cultural Center (UNMSM) Lima, PERU.

2003 Presentation: Contemporary Tapestry, II Competition of Andean Craftsman Familys Cultural Tradition. Sponsored by UNESCO and Spanish Foundation of Crafts, Quito, ECUADOR. Foundation for Anthropology Research and Ethno development Antroplogos del Surandino, Sucre, BOLIVIA Presentation: Natural Dyes use in Latin American, Seminar-Workshop Among Techniques and Artists, La Paz, BOLIVIA

2002 Conference: The Textile Art, T. C. Williams High School, Alexandria, Virginia, USA.

2000 Seminar Weave Navajos and Andeans, ICPNA Gallery, Lima, PERU

1998 Institute of the Peruvian Textile, MINCETUR, Lima, PERU.

1997 Development of Textile New products for exportation, ADEX - Exporters Association, Lima, PERU.

1996 Peruvian Contemporary Tapestry, Puerto La Cruz, VENEZUELA. Conference: Vocation of weavers, National Museum of Peruvian Culture, Lima, PERU.

1995 Traditional Textile Technology and Contemporary, National Museum of Peruvian Culture, Lima, PERU.

1993 Seminar of Design for experts of Latin American and Caribbean Craft. Presentation: My Work from Design and Cultural Continuity, alternative development for the Andean design, University of Art and Design Helsinki (UIAH), Helsinki, FINLAND.

1992 Workshop Pre-Columbian Weaving and its relation with Contemporary Woven, Center of Cultural Dissemination, Asuncin, PARAGUAY.

1991 Innovation and Techniques of Design, Lima Chamber of Commerce, Lima, PERU.

1988 Tapestry Art, Auditorium of the Faculty of Architecture and Urbanism UNFV, Lima, PERU. Master class: Andean Art and Design, Regional Center for Integral Development of Crafts Peru-Spain Agreement, Junn, PERU.

SOLO EXHIBITIONS

2010 Age of the time, Museum of Decorative Arts and Design, Riga, LATVIA. Ofrendas, VIP Lounge - Jorge Chvez International Airport, Ayacucho, PERU Ofrendas, Centro Cultural de la UNSCH, Ayacucho, PERU. Cantos Ceremoniales, Centro Hispanoamericano de Cultura, La Havana, CUBA.

2009 Ofrendas, Museo de Artes y Tradiciones Populares, Lima, PRU Landscapes of The Soul, Art works Studios and Galleries, Richmond, VA, USA Contemporary Peruvian weavings: Mximo Laura, Translations Gallery, Denver, CO, USA. Maximos Peru, ACME Art Studios, Wilmington, NC, USA.

2008 Rituals and Offerings, Cultural Center of UNSCH, Ayacucho, PERU. Mximo Laura: Master weaver Art Andes Gallery, Minnesota, USA. Rituals & Visions, II Congress Tourism and Sustainable Architecture, ARGENTINA. Tapestries of Maximo Laura, the Gallery House, Massachusetts, USA.

2007 Mximo Laura: Peruvian tapestries, Les Jardins de Magali, Vaucluse, FRANCE. Mximo Laura: Master weaver, Translations Gallery, Denver, Colorado, USA.

2006 Meet Mximo Laura: Master Weaver, Art Andes Gallery, Minneapolis, MN, USA. Grand Master of Peruvian Craft, Cultural Center of Spain, San Jos, COSTA RICA. Weaving Times, Indigo Gallery, Lima, PERU. Mximo Laura, Peruvian Tapestries, Fiber Art Center, Amherst, Massachusetts, USA. Mximo Laura, Master Weaver of Peru, National Museum of the American Indian, Washington DC, USA.

2005 Mximo Laura Master Weaver, Inti Gallery, Paris, FRANCE. Mximo Laura: Peruvian textiles, Muse de Bibracte, Burgundy, FRANCE Mximo Laura & Mayte Tanguy, Muse de Bibracte, Burgundy, FRANCE. Mximo Laura & Ana Mazzoni, Integrated Textile Art Center (CIART), Crdoba, ARGENTINA. Maximo Laura: Textile artist, Durham Arts Council, Durham, North Carolina, USA. Eternal Sounds, Bleecker Street Studio & Gallery, Carrboro, North Carolina, USA. Denver Design Center, Denver, Colorado, USA. Artempresa Gallery, Crdoba, ARGENTINA.

2004 Galera Tresalvo, Rancagua, CHILE. Rituals & Visions, Museum of the Americas, San Juan, PUERTO RICO. A Living Legend, Silver Llama Gallery, Tucson, Arizona, USA. Destiny Knotted, Bleecker Street Studio & Gallery, Carrboro, North Carolina, USA. Hands of the Sun, Fiber Art Center, Amherst, Massachusetts, USA. Visions du Prou, Softel Chateau de Versalles, Paris, FRANCE.

2003 Museum of the Americas, San Juan, PUERTO RICO. 7th Anniversary Sue Bickerdyke Interiors Inc., Carefree, Arizona, USA.

2002 Equator Gallery, Boston, USA. Sue Bickerdyke Interiors Inc., Carefree, Arizona, USA. Latina Gallery, Quito, ECUADOR. Latina Gallery, Cuzco, PERU.

2001 Sue Bickerdyke Interiors Inc., Carefree, Arizona, USA. Fiber & Color, Vargas Gallery, Lima, PERU. Latina Gallery, Quito, ECUADOR. Latina Gallery, Cuzco, PERU.

2000 Sue Bickerdyke Interiors Inc., Carefree, Arizona, USA.

1999 Latina Gallery, Quito, ECUADOR. Latina Gallery, Cuzco, PERU.

1998 Latina Gallery, Quito, ECUADOR. Latina Gallery, Cuzco, PERU.

1994-97 Latina Gallery, Quito, ECUADOR.

1994 Andean Mythology, Kuopio Academy of Design and Crafts, Kuopio, FINLAND. Takionqoy, Craft Museum of Finland, Jyvaskyla, FINLAND. Takionqoy II, Cultural Center of Turku, Turku, FINLAND. The Textile Artist and his work, National Museum of Peruvian Culture, Lima, PERU.

1993 Best woven Art: Alpaca tapestry, Latina Gallery, Quito, ECUADOR. Andean Mythology, ICPNA Gallery, Lima, PERU. Andean Mythology, Art Gallery of IADAP, Quito, ECUADOR.

Andean Mythology, Artek Gallery, Helsinki, FINLAND. Projective Craft on the Loom, Andean Institute of Popular Arts Andrs Bello, Quito, ECUADOR.

1992 Conference United Nations Conference on Environment and Development (UNCED) Ro92, Ro de Janeiro, BRAZIL. Clube Comercial Gallery Do Ro de Janeiro, BRAZIL. ICPNA Gallery, Lima, PERU. Latina Gallery, Quito, ECUADOR. Do rabe Art Gallery, Niteroi, BRAZIL. Talleres Gallery, Asuncin, PARAGUAY. Acqui/Cuaternario Gallery, Ro de Janeiro, BRAZIL.

1989 Forms and Textures, ICPNA Gallery, Lima, PERU. Metamorphosis and Roots, Museum of Italian Art, Lima, PERU.

1988 Forms and Textures, Equus Gallery, Lima, PERU. Contemporary Tapestries, ADEPSA Gallery, Lima, PERU.

1987 Ancestral Signs, Huamanqaqa Gallery, Lima, PERU.

GROUP EXHIBITIONS

2010 4th Riga International Textile and Fibre Art Triennial Tradition & Innovation Global Intrigue II, Exhibition Hall Arsenals, Riga, LATVIA 13th International Triennial of Tapestry, Lodz, POLAND Fantastic Fibers 2010, the Yeiser Art Center, KY, USA Peru Gift Show 2010, Real Felipe del Callao, Lima, PERU

2009 Connections: Small Tapestry International 2009, Earlham College, Richmond, Indiana, USA Small Expressions 2009, Faulconer Gallery, Grinnell College, Grinnell, Iowa, USA Connections: Small Tapestry International 2009, San Jose Museum of Quilts & Textiles, California, USA 5ta Bienal Internacional de Arte Textil, Palais de Glace, Buenos Aires, ARGENTINA Small Expressions 2009, the Mississippi Craft Center, Ridgeland, Mississippi, USA

2008 From Lausanne to Beijing 5th International Fiber art Biennale & International Fiber Art Symposium, Beijing, CHINA. Saln de Arte Textil, Museo Rmulo Raggio, Buenos Aires, ARGENTINA. TexpoART, 5th International Triennial of Textile Arts, Nicolae Tonitza Gallery, Iasi, ROMANIA Casa Cor Per 2008, XIII Exposicin Peruana de Decoracin y Diseo, Lima, PERU Per Gift Show 2008, Sala Grandes Maestros de la Artesana Peruana, Lima, PERU American Tapestry Biennial 7, Kentucky Museum of Art and Craft, Kentucky, USA Scythia 7th International Biennial Conference and Exhibition on Textile Art, Kherson Local Lore Museum, Kherson, UKRAINE American Tapestry Biennial 7, Scarfone/Hartley Gallery, Florida, USA 6th International Triennial of Tapestry and Textile Arts of Tournai, Tournai, BELGIUM Magic Night 2008, Museo Pedro de Osma, Lima, PERU La Papa Smbolo Sagrado y Profano, Ethnographic and plastic exhibition, Nationa Museum, Lima, PERU

Handcraft for the World Traditional art Exhibition V Summit LAC-EU 2008, National Library of Peru, Lima, PERU Land the Tapestry Foundation of Victoria Award Exhibition, The Australian National University, Camberra, AUSTRALIA

2007 Hall Art of General Consulate of Venezuela, Miami, Florida, USA Hall Art of General Consulate of Colombia, Miami, Florida, USA 3rd European Textile and Fiber Art Triennial Tradition and Innovation Global Intrigue, Riga, LATVIA

2006 Invited Artist to IV International Biennial of Textile Art and Design Man+Woman=Creation 2006, Sophia Wanamaker Gallery, Organized by WTA, San Jos, COSTA RICA

2005 First International Fair Textile Art: Texture and Color, Caracas, VENEZUELA Contemporary Latin American Art 8, the Art Gallery Broward Community College South Campus, Pembroke Pines, Florida, USA No Boundaries Exhibitions of the 2004 Collection, Randall Library UNCW, NC, USA

2004 Juan Kawashima pe Inture a Ihuile el Mximo Laura Tapis, Sofitel Chateau de Versailles, FRANCE 4th Meeting without Boundaries International Artist Colony, Bald Head Island, NC, USA

2003 Music in the Peruvian Folk Art, Pallas Gallery, Lima, PERU Night of Art 2003, United States Embassy Association (USEA), Lima, PERU Art Gallery of PetroPeru, PetroPeru, Lima, PERU Messe Frankfurt 2003, Frankfurt, GERMANY

2002 X Iberoamerican Crafts Fair, Puerto la Cruz, VENEZUELA Jewels from Peru XXI Century Silver and Textile, Art Gallery of the OEA, Washington DC, USA 1st Andean Crafts Fair, organized by CAF, Bogot, COLOMBIA

2001 IX Ibero-American Crafts Fair, Puerto La Cruz, VENEZUELA Museum of the Nation, Lima, PERU

2000 ICPNA Gallery, Lima, PERU

1999 Main Room of Bolvar Hotel, AMS-USAID, Lima, PERU

1997 44th Tokyo International Gift Show, Tokyo, JAPAN

1994 Mother of Novo Art, Libertadores Gallery, Lima, PERU Ayacuchos folk Artist, Retablos Ayacuchanos Workshop-Gallery, Lima, PERU

1993 Seminars of Latin-American and Caribbean Crafts, University of Art and Design Helsinki (UIAH), Helsinki, FINLAND Coral Gables International Festival of Craft Arts, Miami, Florida, USA I Iberoamerican Crafts Fair, Puerto La Cruz, VENEZUELA

1992 Itinerant Exhibition of Peruvian Art, CHINA Latin-American Art, National Museum of Craft Gallery, Helsinki, FINLAND

IV Iberoamerican Crafts Fair, Tenerife, SPAIN Universal Expo Sevilla 92, Sevilla, SPAIN

1991 Ayllu Gallery, Lima, PERU Peruvian-Ecuadorian Exhibition, Lima, PERU

1988 1st Meeting Latin-American of Mini Textile, Montevideo, URUGUAY Symbolism, MICTI Gallery, Lima, PERU

1985 Faces of Peru, Buenos Aires Cultural Center, Buenos Aires, ARGENTINA

NEXT EXHIBITIONS

2010 8 International Baltic Minitextile Triennial, Museum of the City of Gdynia, POLAND Small Expressions 2010 Annual Exhibit of Small Scale Works, HGAs Convergence 2010 Albuquerque, New Mexico, USA American Tapestry Biennial 8, Elder Gallery, Lincoln, Nebraska, USA Un giorno di felicit - 2010 Miniartextil Como 20th International Exhibition of Contemporary Textile Art, ex-church of San Francesco, Como, ITALY 8 International Baltic Minitextile Triennial, Central Museum of Textiles, Lodz, POLAND

2011 GREEN: A Color and a Cause, The Textile Museum, Washington, DC, USA American Tapestry Biennial 8, American Textile History Museum, Lowell, Massachusetts, USA

positions of trust anD other professional activities

2006-2010 Member of the Board of Directors of the Iberoamerican Textile Network,

COSTA RICA

2006 Co-Founder of the Iberoamerican Textile Network: Redtextilia, COSTA RICA

2003-2008 Workshop conductor, PUCHKA TOURS, Arequipa, PERU

2002-2007 Director of Workshop LAURAS DESING, Lima, PERU

1996-2002 Member Founder and Director Textile Center Pilot AID/MSP ADEX, Lima, PERU

1995-2000 Founder Director of Grupo TRAMA, Lima, PERU

1991-1994 Founder Director of Workshop intipamakim (Hands of The Sun), Lima, PERU

1988-1991 Founder Director of Workshop of Aesthetic Research Andean Contemporary

Design, Lima, PERU

1988-1989 Chief of Workshop and Design to Artesanos Unidos Company, Lima, PERU

1988 Adviser to Textile Program of Regional Center for Integral Development of Crafts

Peru-Spain Agreement.

1986-1988 Founder Director Textile Art Workshop (ATA), Lima, PERU

1984-1985 Chief of Workshop Artesana Laura Asociados (ALA), Lima, PERU

1980-1982 Founder of Retablo Craft Workshop

PERSONAL GRANTS, AWARDS AND PRIZES2010 Honorary Mention Award, 13th International Triennial of Tapestry, Lodz, POLAND

Second Place Award, Fantastic Fibers 2010, the Yeiser Art Center, KY, USA

2009 HGA Award in recognition of a work outstanding, Handweavers Guild of America, INC., Georgia, USA

First Place Award, Small Expressions 2009 sponsored by the Handweavers Guild of America, INC., Mississippi, USA. Gran Premio Nacional Amautas de la Artesana Peruana, Ministerio de Comercio Exterior y Turismo, PERU

Mention Prize, 5ta Bienal Internacional de Arte Textil, Palais de Glace, Buenos Aires, ARGENTINA

2008 Recognition as Ambassador of Ayacuchos Culture awarded by Ayacuchos Regional Government, Ayacuho, PERU

Bronze Prize, From Lausanne to Beijing 5th International Fiber art Biennale, Beijing, CHINA

II Award Silver Medal, Scythia 7th International Biennial Exhibition on Textile Art, Kherson, UKRAINE Diploma and Medal Recognition awarded by Hometown Government. Ayacucho, PERU

Peoples Choice Award, Land The Tapestry Foundation of Victoria Award Exhibition, the Australian National University, Camberra, AUSTRALIA

Diploma and Medal Joaquin Lopez Antay awarded by Congress of the Republic of Peru, Lima, PERU

2007 Honorific Mention 3rd European Textile and Fiber Art Triennial Tradition and Innovation Global Intrigue, Riga, LATVIA

2005 Best in Show Contemporary Latin American Art 8 organized by Museum of The Americas. Pembroke Pines, Florida, USA

2002 Title Master of the Craft Iberoamerican. X Iberoamerican Crafts Fair. Puerto La Cruz, VENEZUELA.

Tribute to Grand Master of the Craft Peruvian Mximo Laura Taboada, X Iberoamerican Crafts Fair. Puerto La Cruz, VENEZUELA

Medal Juan Pablo Vizcardo y Guzmn. Awarded by Congress of the Republic of Peru, Lima, PERU

Diploma Universal Promoter of the Peoples Craft and Cultural Family Tradition. X Iberoamerican Crafts Fair. La Cruz, VENEZUELA

2001 Diploma and Medal Grand Master of Peruvian Craft Awarded by National Culture Institute of Peru, Lima, PERU

International Mention Grand Master Weaver, FUNAC, VENEZUELA

1996 Diploma Best Craft Internacional awarded during la IV Ibero-American Crafts Fair. Puerto La Cruz, VENEZUELA.

1993 1st Prize Coral Gables International Festival of Craft Arts. Miami, Florida, USA

1992 3rd UNESCO Crafts Prize for Latin America and the Caribbean, 4 Ibero-American Crafts Fair in Tenerife, Canaria, SPAIN

Diploma Recognition and Commendation. Ayacucho and its Tutelary Institutions. Ayacucho, PERU

Diploma of Honor. San Cristbal de Huamanga National University (UNSCH), Ayacucho, PERU

1991 1st National Prize of Craft Golden Hands. Lima, PERU

Craftsmanship Award in the Region Lima 1st National Competition of Models and Design Handicrafts for Export, Lima, PERU

Diploma. 5th Centenary of the discovery of America. Meeting of two worlds. Lima, PERU

1988 Diploma. 8th Exhibition of Ministry of Industry Trade, Tourism and Integration. Lima, PERU

3. Documents presenting the technical constraints of weaving

3.1 Weaving technology 3.2 Tapestry project (from beginning to ending of process) 3.3 Selection of artworks and its process 3.4 Winner and juried selection artworks

WEAVING TECHNOLOGY

I consider my tapestries a work of art, and as I stated earlier it is a journey that includes a variety of steps from the initial stages to completion. The process begins with an idea which transforms itself into an image. The image must be sketched and processed into various drawings that will make up the series. Next, I paint each of the drawings and if I decide to make one of the paintings into a tapestry, I need to re-draw them to actual scale. Once I have the full sized drawing I must prepare the technical characteristics which include color, detail, and texture. After carefully comparing the colors to those of the original painting, I can start on the loom. The pro-cess of weaving can take from two weeks to many months depending on the size and complexity of the work. When the weaving is done I hang the final product up for viewing. It is a long and slow process that requires in-finite patience and for me an obsessive attention to color and detail.

TAPESTRY PROJECT

My first series of tapestries, completed some twenty-five years ago, were strongly influenced by Central South American Andean culture. Many series both past and present have been influenced by the rich heritage of my ancestors. In the process of innovation and search for originality and my personal style, I draw inspiration from both the surrealist and impressionist movements. The artists from those movements, mainly those that focus on the use of color, symbols, light and the abstract are those that inspire me most. In regards to the ecological in-fluence on my art, that is a personal encounter. The exuberance, the majesty, the mysteriousness and richness of nature provokes gratitude from within as well as a celebration of life. That being said, I created a series dedicated to the Galapagos Islands, many examples of which have been included here.

SELECTION OF ARTWORKS AND ITS PROCESS

Art in humanity has synthesized its rhythms, myths, visions, dreams and ambitions and has explored a world of beauty across all time. In the past and today, art serves as a way to find both inner and outer beauty. It is so im-portant that art can influence all aspects of daily life, including politics, culture, history, beliefs, myths, religion and more. My artwork in this context serves as a small effort to affect change in the viewer and in the world.

WINNER AND JURIED SELECTION ARTWORKS

1st Place Golden HandsNational Prize of CraftPeru, 1991

UNESCO Prize for Latin Ame-rica and the CaribbeanSpain, 1992

Medal Grand Master of Peruvian Craft Peru, 2001

Best in Show PrizeUSA, 2005

Peoples Choice AwardAustralia, 2008

Mention PrizeLatvia, 2007

II Award Silver MedalUkraine, 2008

Juried selection at the 6th International Triennial of Tapestry and Textile Arts Belgium, 2008

Juried selection at the American Tapestry Biennial 7USA, 2008

Bronze Prize China, 2008

Juried selection at the TexpoARTRomania, 2008

Juried selection at the Connections: Small Tapestry InternationalUSA, 2009

Mention Prize Argentina, 2009

First Place AwardUSA, 2009

Second Place AwardUSA, 2009

Juried selection at the 8th International Baltic Minitextile Triennial

Poland, 2010

Honorary Mention AwardPoland, 2010

Juried selection at the 4th Riga International Textile and Fibre Art TriennialLatvia, 2010

Juried selection at the 2010 Miniartextil ComoItaly, 2010

Juried selection at the Small Expressions 2010 USA, 2010

Juried selection at the American Tapestry Biennial 8USA, 2010

Juried selection at the GREEN: A Color and a CauseUSA, 2011

4. Photos, publications, monograph and main references

4.1 Main publications 4.2 Monograph 4.3 Main references

MAIN PUBLICATIONS

MONOGRAPH

MAXIMO LAURA: FIBER AND COLOR

Mximo Laura, born in the heart of the Wari culture1 , has inherited the stylistic tradition of the ancient cumbicamayocs2. He practiced this tradition as a child un-der the watchful and wise guidance of his Ayacuchan parents and grandparents, all master weavers. Following a first class path and with a background composed of beautiful pieces, Mximo is one of our most important weavers; not only has he introduced to tapestries and weavings the iconography of our past cultures, he has also been able to masterfully fuse fiber and design, three strategic aspects of textile art.

A researcher respectful of the genuine colors used by our ancestors, he has been able to find and uncover some of the secrets of color in his fibers. But what sets him apart beyond measure is his use of design. Mximo has not stopped in the direct and personal act of the weaver creating by his loom. To him, its not about the deve-lopment of this direct act; its about breaking the conceptual order of how one hand-les weaving.

Laura paints without painting; he commands his codes to align with the space of that fiber composition and they magically weave themselves in answer to his conju-ring of their shapes.

He is a weaver-painter in the technical way in which he creates. He works on his de-signs with an innate mastery, as much of form as of color. The combination of pre-Colombian cultures unites and creates, in the end, a step toward pera omnia3.

Mximo Laura is what we could call the weaver of rupture who goes far beyond the birth of textiles. His tapestries will always be like canvases. His codes wont ever be repetitive, nor will they be subject to a geometric order; instead, they will appeal to the dynamic of his themes; just like a pictorial piece. His brushes, in the end, will be his own fingers, his threads and cords his cans of color, and his loom will be his comfortable easel.

Mximo has a lot stories to unravel, he has war cries, mountain songs and spirited birds and felines that inhabit his mind since those times when his questions un-wrapped themselves to him in history books, in the legends and myths he heard in his ancestors voices.

He is a born rebel; nothing stops his fervor to create. Like feline eyes discern, like birds fly to see the horizon or like the soul of the mountains shelters the colors of nature, Mximo accomplishes his task with the energy of the Andean nailed to his own destiny.

He has his own gods, his own ghosts and his ever-present warriors in unbridled crowds. Trumpet calls, voices of the wind, dusks of fire, and horizons of thousand colored fibers. Color and form of the warp that seem to obey the strength of its war-per, true brush stroke to weaving, breaking the rules of the sense of the lloque4 and the discovery of magic combination.A predominant value in the finishing of his pieces is, undoubtedly, color. Each fiber will have a rigorous chromatic value. The dyes, their range of color have a special story, a scientific work of revaluation spanning thousands of years.

Mximo Laura today represents, before the eyes of the experts and the irreverent, the artist who has learned to combine the present with the past. A social legacy transmitted from generation to generation of Peruvians who, like him, did not stop before the subjugation of other cultures, but who with their creativity, knew how to increase and enrich that inheritance whose telluric force, wont ever be stopped.

Vctor Escalante, Artist

1 An empire preceding the Inca, with its capital near Ayacucho.2 Inca weavers.3Focusing on musical compositions of the Baroque, a style exemplified by drama and grandeur.

REVIEWS

THE WEAVING POET

Peru is the cradle of artists. For millennia, the search of the eternal spirit of the An-des has inspired many of them, among which Mximo Laura, Ayacuchan weaving poet, is one of the most vigorous and creative contemporary exhibitors.And it is because weaving is a high Art when the one who wants to accomplish it interweaves their feelings with the colored threads with which they are drawn and integrates into the same work their ideals to those of their own People.Inexhaustible investigator and experimenter, prolific innovator, Mximo has sear-ched in the potential of the Ayacuchan loom his own language, flirting and synthesi-zing techniques and styles of other origins, and in that search, he has added himself to the concert of that which is Peruvian, gifting with infinity and universality a tech-nique which in our country is only recognized as craft.Precisely, his work has again imprinted the seal of traditional weaving art, gifting it with modernism, it has fused desterity, quality, creativity, and cultural consciousness by interpreting the spirit of this time, by being recognized with success in markets and specialized art galleries in other parts of the world, representing us with all the magic of his aesthetic vibrancy.

In contemplating his Art, it is impossible not to evoke our identity. From light co-lor to monochrome, from modular designs to the plasticity of Andean spirituality, Mximo has been able to crossbreed weaving and in this innovation, he has known how to keep his roots alive, those that unite all of us who love and respect our Earth and preserve our ancestral symbols recreating them to the rhythm of each present time.Mximos work goes beyond threads. As a Master, Mximo sows weavers throughout the country who soon, like a multicolored rainbow flowing from his hands, will bear new and unexpected fruit to fill with grandeur and beauty our living culture to con-tinue to make us proud of being a part of a great and millenary nation.

Mximo Laura, Ayacuchan weaver, constant maker, is an example of what can be achieved in the Andes when we recover the millenary memory and assume the pri-de of being oneself and of being community at the same time, because of this my homage to his work is the recognition of that which is Peruvian that nourishes his creative spirit...

Zadir Milla Euribe, Artist-Designer Translated by Banu Valladares

MAIN REFERENCES

* The World Bank, Washington DC, USA

* Smithsonians National Museum of the

American Indian, Washington DC, USA

* Latina Gallery, Quito, ECUADOR

* Museum of the Americas, Miami, USA

* Corporacin Andina de Fomento CAF,

Bogota, Colombia

* Embassy of Peru - Washington DC, USA

* Ricardo Palma Private University, Lima, PERU

* The Coca-Cola Company, Lima, PERU

* Vargas Gallery, Lima, PERU

* Embassy of Peru, Quito, ECUADOR

* Regional Center for Integral Development

of Crafts, Lima, PERU

* Torre Tagle Palace, Ministry of Foreign

Affairs of Peru, Lima, PERU

* Embassy of Peru, Asuncin, PARAGUAY

* Iberoamerican Association for the

Development and Marketing Crafts, Lima,

PERU

* Panamericana Television Canal 5, Lima,

PERU

* Equus Gallery, Lima, PERU

* Embassy of Peru, Helsinki, FINLAND

* Andean Institute of Folk Arts Andrs Bello,

Quito, ECUADOR

* National Museum of Peruvian Culture, Lima,

PERU

* Museum of Craft, Jyvaskyla, FINLAND

* Ministry of Industry, Tourism, Integration and

International Trade Negotiations, Lima, PERU

* ICPNA Gallery, Lima, PERU

* Iberoamerican Museum of Craft, Puerto La

Cruz, VENEZUELA

* Interamerican Center of Craft and Folk Arts,

Cuenca, ECUADOR

* Museum of Iberoamerican Crafts, La Orotava,

Tenerife, SPAIN

* Headquarters of United Nations Organization

for Education, Science and Culture. (UNESCO),

Paris, FRANCE

* Word Textile Art Organization, Miami, USA.

* Fundacin Xavier de Salas, Convento de La

Coria, Trujillo, PERU.

* St. Josephs Hospital, St. Paul, Minnesota, USA

* Museo de Artes y Tradiciones Populares del

Instituto Riva-Agero, Lima, PERU.

art worKs in collection

bibliography

* MAXIMO`S PERU: A Journey into to the world of a weaver, by Arrow Ross and June Tilden, Ed. Blurb, USA, 2009.

* 7th Scythia INTL. Symposium of Textile Art, Revista Textile Forum 3/2008 Setiembre, GERMANY, 2008.

* Catalogue: American Tapestry Biennial Seven. American Tapestry Alliance; USA, 2008.

* 100 CONTEMPORARY INTERNATIONAL ARTIST; Ed. European Communities Artists Library, SPAIN, 2007

* Catalogue: 3rd European Textile and Fiber Art Triennial Tradition and Innovation Global Intrigue; Riga, LATVIA, 2007.

* NOTABLE PERUVIANS: PERU IN THE CENTER OF EVERYTHING, MAXIMO LAURA: Master Weaver. Pages 28-33;

MI Casa Magazine of Cassinelli, PERU, 2007.

* Published work on the cover: RITUAL DEL ATARDECER EN LOS ANDES; Mundo Textil N 92, PERU, 2007.

* TECHNIQUES OF THE PAST STAINED THE COLOR OF THE FUTURE: TINTURA NATURAL (Interview), Page. 8;

Mundo Textil N 91, PERU, 2007.

* CROSSING BOUNDARIES: MAXIMO LAURA by D Wood, Pages. 48-51; FiberArts Volume 33 Number 3, USA. NOV/DEC 2006.

* Published work: Fiesta en los Andes II, FiberArts Volume 33 Number 3, USA. NOV/DEC 2006.

* ART ENCOUNTEER: Meet the artist, Maximo Laura, Master Weaver; Source E4 START TRIBUNE, Thursday, November 30, 2006.

* Catalogue: IV INTERNATIONAL BIENNIAL OF TEXTILE ART AND DESIGN MAN+WOMAN=CREATION 2006, COSTA RICA.

* MAXIMO LAURA, MASTER WEAVER: TEJEDOR DE SUS PROPIOS SUEOS; Estilos & Casas Year 9 N 1; COSTA RICA.

* 20 CONTEMPORARY INTERNATIONAL ARTIST VOL. 4; Ed. European Communities Artists Library, SPAIN.

* BOOK AMERIQUES: LES MAINS DU MONDE. Anquetil, Jacques. Ed. Solar; FRANCE, 2005.

* Catalogue: No Boundaries 4th Meeting without Boundaries International Artist Colony; USA, 2004.

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