Claudia is a multidisciplinary artist who works mostly in video and painting. She was born in Boston from Chilean parents, spent most of her life in Santiago, Chile and currently lives in NY. She has a BFA from the Universidad Catolica de Chile (2009) and an MFA in Painting from Rhode Island School of Design (2013). She was a resident at Skowhegan School of Painting Sculpture, Bemis Center for Contemporary Arts, Roswell Artist-in-Residence Program in New Mexico, Smack Mellon Studio Program in New York, and is currently a resident at Outpost Projects in Brooklyn. Solo Exhibitions include: Muhlenberg College 2018, Practice Gallery 2018, Brooklyn Bridge Park Community Gallery 2017, Roswell Museum and Art Center 2017, Museum of Visual Arts in Chile 2016, ThisFriday or NextFriday in Brooklyn,
Group Exhibitions include: Galería Nemesio Antunez, Chile 2018, LeRoy Neiman Gallery at Columbia University 2018, Anytime Dept 2017, Saha Hadid IMAX Theater 2017, Changjiang Museum of Contemporary Art, China 2017, The Parlour Bushwick 2016, Project 722 , Museum of Contemporary Arts Quinta Normal, at Matucana 100 Art space, among others.  
Awards : First honorable mention at the XXII Media Arts Biennale in Chile, the first prize at the UFO McDonald's Painting Competition, the First Prize for Britney Spears Dance Challenge, 2016.  Grants:  The New York Community Trust Van Lier, Jerome Foundation for emerging Filmmakers Grant, Emergency Grant for Artists,  Hammersley Grant.

In a “Do It Yourself” effort to emulate, remake and rewrite the hyperbolic world of pop production, I assume multiple roles (painter, director, producer, performer, editor).   In my practice, the obsessive nature of the act of remaking is always accompanied by the examination of the component parts that are used to construct products of mass consumption.  I reorganize these parts, remix them, change their harmonic compositions in order to question the power of entertainment and the manipulation that exists behind them.  While that’s happening, I genuinely fantasize in the role of the fan and project myself (and the people around me) into these spectacles, frantically imagining how to reconstruct and introduce subjectivity into juxtaposition to the highly calculated systems of mass consumption. 

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