I understand creation as a pathway capable of connecting the human with the universe and the visible with the invisible. Through forms, colors, and volumes, the possibility of communication arises, which my visual work seeks to achieve.

I perceive the world as a constellation of elements in constant movement. This enables me to engage simultaneously and in parallel with stain, drawing, form, counterform, emptiness, and fullness, capturing a subtle reality in continuous transformation, an ephemeral flow I seek to grasp and translate through color and its vibration.

Painting draws me inward, into my own being. From the silence of the blank canvas or sheet of paper, form and color flow freely, emanating from within and unfolding beyond time while opening a space for encountering the Other when the work is exhibited.

I like to think of my work as belonging to what is called “conscious art.” In the face of the growing intellectualization of artistic experience, I appeal to the most essential form of perception: color is light, and light moves our senses through its healing power. Alongside this, a fundamental energy nourishes and guides me, urging me to bring itself into presence to highlight its value and power, and the urgent need to recover it in a chaotic and superficial world. This energy is feminine energy as a transformative force of being.

From this inner universe, shaped by intimate and everyday experiences, artistic practice becomes an invitation to let ourselves flow, to awaken consciousness, and to move beyond the structures of the mind. A series of binary relations emerge from my experience, each term requiring and sustaining the other: subjectivity/otherness, society/community, and structure/constellation. Together, they form a personal and singular imagery, characterized by intuition and silence, capable of establishing connections across different scales of consciousness and evolutionary dimensions of the human.

My work proposes genuine perspectives that diverge from traditional interpretations in art history. Having received no formal training in the arts, my entire practice is grounded in exploring materials, supports, and mixtures. This opens up multiple possibilities that I approach without preconceptions in order to reach the viewer. Consequently, the techniques I use develop spontaneously and are fully experimental.

This has led me to work with various mediums and formats, such as papyrus, different types of fabric, wood, acrylic sheets, oil paint, acrylic paint, pastels, and automotive paints. I use different tools for painting, including brushes, spatulas, cloths, sponges, and my own hands, which for a long time were my only working instrument—seeking, through materiality, to reveal what is undoubtedly part of the mystery underlying each work.

Successive layers of material on the support generate superimposed worlds, like physical and metaphysical dimensions, which I later define and bring into communication through pencil drawings.

Layering of almost infinite planes in painting led me to experiment with volume in large-scale works, extending spatial projection beyond the planar forms inscribed on the surface. I intuitively arrived at sculpture, where my material choices also arise from experimentation and from my own research into matter and its possibilities. These sculptures seek to become Others with whom to engage in dialogue through the intimacy of everyday conversation and by allowing oneself to be enveloped by tangible, embraceable forms.

My artistic production is marked by an open inquiry that moves from the graphic language of glass mosaics to digital animation as ways of narrating and connecting. Within these ideas, I seek to construct a personal language that can be understood, considering each piece as part of an alphabet of codes rooted in the strength of the feminine and the ability to generate an urgent energy of resilience amidst the current chaos, which is often detached and indifferent.

May, 2026.

Biography

Daphne Anastassiou Mustakis (Viña del Mar, Chile, 1955) is an interdisciplinary artist whose practice is grounded in visual and material experimentation that extends beyond conventional academic frameworks. Born into a Greek family deeply engaged with culture and the arts, she pursued higher education at Pierce College (Athens, Greece), Alvescot College (London, England), and the Pontifical Catholic University of Chile (Santiago, Chile), where she earned a degree in psychology in 1980.

Her earliest explorations in art-making date back to childhood, when she worked with enamel on metal and techniques involving chemical etching in her mother’s atelier. She later turned to ceramics in 1982, and her first canvases emerged in 1991. From 2006 onward, painting became her primary focus. She also pursued drawing studies under the guidance of artists Carmen Silva and Jaime León.

Her practice encompasses mixed-media painting, primarily using oil and acrylic, and extends to large-scale sculptural works in a variety of materials, including resin, wood, marble, and metal. This is complemented by an ongoing formal exploration ranging from mosaic craftsmanship to technological experiments in digital animation. Her prolific creative output is grounded in an understanding of human nature, the depth and expansion of consciousness, and human potential, engaging closely with principles of transpersonal psychology.

Her first solo exhibition, Agapi (“Love” in Greek), was presented in 2009 at Artespacio Gallery, showcasing works created between 1991 and 2009. She has exhibited both individually and collectively throughout Chile in prominent venues such as CV Galería, GAM Centro Cultural Gabriela Mistral, and Feria Ch.ACO, among others. Internationally, she has exhibited at venues and fairs including FAIMART in Madrid (Spain), Centro Cultural Borges in Buenos Aires (Argentina), Museo Ralli in Punta del Este (Uruguay), Galería OCCO in Madrid (Spain), Galerie Colette Dubois in Paris (France), Saphira & Ventura Gallery in Dubai (United Arab Emirates), Art Basel Miami Beach 2019 with Curators Voice Art Projects (USA), Saphira & Ventura Gallery in New York (USA), and Galería Jorge Alcolea in Madrid, as well as in England, Austria, Germany, China, and Egypt.

In addition to her visual work, she has explored themes of self-knowledge and emotional healing through writing, publishing the book Somos amor (“We Are Love”) in 2000. She serves as vice president of the Gabriel y Mary Mustakis Foundation, an organization that supports the cultural, intellectual, and creative development of children from underserved communities. She presides over the Agapi Foundation, which promotes creative development through collective singing, music, and visual arts, while fostering well-being and inclusion, guided by the principle that social change begins with individual transformation.

The artist lives and works in Santiago, Chile, and is represented by Galerie Colette Dubois.