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My work is the rich, singular development of, the fascinating and millenarian textile historical source of the Andes in symbiosis with the innovations of the tapestry in the international field, defending an own space in the plastic arts. The historical sources contribute inexhaustible material that must be assimilated; the search of lenguage own and present is the ample challenge to be surpassed. Of this collision between traditional and the contemporary, study of the tools, the application and the innovation of textile techniques; I try to multiply the resources of chromatic expression maintaining the iconographic language authentically Peruvian....
The tapestrie has a system of elaboration with slow and irreversible progression, situation that allows a meticulous, patient and intimate encounter with technical and visual solutions, giving the opening to an infinite repertoire of possibilities put under the international communicativity of the work. Looking for, in my case, a lenguage that emanates spirituality, aesthetics and lyricism. I try to be put under the material limitations and the exigencies of the creative act, under the light of the obsessive taste that reveals a typically Peruvian cultural connotation and textile...
Maximo Laura, respectful researcher of our ancestor's genuine colors, he has found and revealed some of the secrets in their colors and fibers. But where he really stands out is in the use of design. Máximo has not stopped at the weaver's direct and personal action at the loom. For him, weaving is not the unfolding of direct action but breaking point in its conceptual order.
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Laura paints without painting, dominating codes that blend into a composition of fibers magically entwined by the incantation of his forms.
Weaver-painter through his creative style, he designs with innate skill both forms and colors. The conjunction of pre-Columbian cultures becomes entwined, finally turning into a sort of opera omnia.
Máximo Laura is what we could call "the weaver of rupture," seeing beyond the selfsame conception of textiles. His tapestries become pieces of art in the same as paintings. His codes will not repeat themselves; nor will they have geometric order. Instead, they will appeal to the dynamics of their won subjects. Just like a painting. Finally, his own fingers become his brushes, threads and cords his post of colors and his loom his comfortable easel.
Máximo has many stories to reveal. War cries, brave felines and birds and mountain songs live in his mind ever since his questions unraveled in history books and in the myths and tales in his grandparents' voices.
He is an inborn rebel; nothing stops his creative fever. Like a feline uses his eyes to see, like a bird's flight overlooks the horizon, or the soul of a mountain lodges the colors of nature, Máximo takes on his task with the Andean energy embedded into his own destiny.
He has his own gods, his own ghosts and an unruly mob of ineffable warriors. Clarion calls, voices in the wind, fiery sunsets and horizons made of a thousand colored fibers; shapes and colors in the warp that seem to obey their creator's strength. A true brushstroke on tapestry, breaking the crossbar's rule and discovering a magical conjunction.
Color undoubtedly prevails in his pieces finish. Each fiber will have a rigorous chromatic value. The dyes, their gamut of colors, have a special history, a scientific work revaluating thousands of years.
Today, Máximo Laura represents, in the eye of the specialist and the profane, the artist who has been able to entwine past and present. The social inheritance of many generations of Peruvians who, like him, did not stop at the penetration of other cultures; but, through their creativity, were instead able to enhance and deepen that inheritance whose telluric force will never be refrained.
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