Cecilia Chamorro

Cestería Andina

Basketweaver

©Cesteria Andina

A creative free flow to match the landscape

Cecilia weaves contemporary manila fibre baskets
She studied art, art history and education in Chile, France and Spain
She draws inspiration from Chile’s Lake District landscape, colours and craft traditions

Cecilia Chamorro’s flax basketry is rooted in traditions of the southern lake district of Puerto Montt, where the sea penetrates the mainland, blurring boundaries and causing a network of inland lakes. Her basketry expresses this with fine, close and careful stitches in a coiled and open weave technique, called aduja. Cecilia’s knowledge in art theory and history has guided her self-taught path, along with her ancestral ties to the land. In 2019, she sought creative expression beyond theory, which led her to explore form freely, with technical excellence. The fibre that she uses is phormium tenax, which is referred to as manila locally. Cecilia weaves year-round and showcases her work at Universidad Católica’s International Crafts Show in Santiago each December.

Interview

©Cesteria Andina

©Cesteria Andina

What influences are at the origin of your art and craft?: Both home and school were spaces where creativity was encouraged in a didactic way. I always had an affinity with form, history and the origin of things. This is why my homeland and childhood memories of Puerto Montt’s traditional crafts shape my work to this day.
What was the turning point that motivated you to embrace craftsmanship?: I began exploring materiality and form through basketry from a practical rather than theoretical perspective. In 2022, I received the Chilean Crafts Foundation’s Seal of Excellence, which opened doors for me, including a 2024 honourable mention. My innovative weaving technique was recognised as a differentiating design trait.
Could you describe your creative process?: It is a methodical process in the preparation stage, yet unchartered in the creative phase. I gather manila leaves during the austral summer, soak, shred, thread and dry them. Once rehydrated, I begin a slow, meticulous weaving process, ensuring tight stitches while exploring with the free flow of form.
What lies behind trial and error for you?: Trial and error are an important part of my weaving process and something I truly enjoy. With no time pressure, I explore multiple paths freely. What I do control are colour and technique. I reject vulgar roughness, favouring delicate, intentional textures in every stitch.

Cecilia Chamorro is an expert artisan: she began her career in 2015 and she started teaching in 2020