At age eighteen, Patricia Olguín decided to major in sculpture. She was quickly fascinated by wood, finding herself seduced by its smells, colors, and quality of its surfaces. She describes the process of carving, of taking ravaged wood and working it until shapes form and the grain emerges, as the uncovering of an organic world that speaks its own language. Ten years after her introduction to wood carving, Olguín learned metalsmithing, and has combined the two ever since. Alternating between direct creation and lost-wax casting, she has incorporated an entirely new language into her visual discourse.
Born in New York, Olguín has since spent much of her life in Lima, Peru. In her childhood home, art was a constant presence, and the arrival of a new piece, followed by the inevitable rearrangement of her family’s collection, was a constant delight that has found its way into her own work. “The habit of designing atmospheres around people became a necessity for me,” Olguín says. “That’s what I do with my sculptures; I transport the viewer to other states, provide beauty, company, alter people’s atmospheres. The path I use to reach that point, the selection of materials, the technique, the process itself, is always like falling in love anew.”