Teacher at the Digital Design Center Institute and the Caracas Design Institute, with more than twelve years of experience and extensive knowledge in the field of typography.

Founder of the BRAC DESIGNS brand. She comes from a family of artists; her father, Oscar, was a successful architect by profession, a stained glass artist at heart, and a passionate sculptor and painter.

She has achieved very personal goals, such as being accepted into seven artist residencies in Europe. Likewise, upon arriving in Lisbon, she was selected to participate in her first international biennial, CONTEXTILE 2022, a contemporary textile art biennial.

Name of the person who inspired you to be what you like, or from whom you think you inherited that passion
The inspiration came with me, an unspoken part of my DNA. Since childhood, art has been a constant in my life, and I’ve been surrounded by beauty in every sense of the word. I come from a family of artists. My beloved father, Oscar, was an architect by profession, but a stained-glass artist, sculptor, and painter by passion. My mother, Graciela, was a drafter, a natural apprentice, and an illustrator. While I admire many artists, I find my deepest inspiration in the simple beauty of everyday life.

At what age did you realize you liked what you do now?
As I mentioned earlier, art has been a constant presence in my life since I was a child. I grew up in a one-of-a-kind home with a blend of eclectic and refined tastes. It was a house rich with the flavors and smells of good food, surrounded by paintings and sculptures, and often filled with the presence of painters and all sorts of artists.

Explain how you realized you had the talent to do what you do.
I've never really asked myself if I have talent; I've always believed that I do what I do out of pure passion. Because of that, I'm still not sure if "talented" is the right word to describe me. I've always said that what truly defines me is good taste. Everything I do comes from passion, and without it, I don't think I would be able to do what I do at all.

As an artist, besides the genre you work in, what other things do you enjoy?
I am inspired by and enjoy all types of art. For me, life is already art, as long as it starts from good taste.

Who was the important part that helped you achieve one of your biggest dreams, if anyone supported you financially or personally?
My greatest support has always been my perseverance. When I focus on a goal—what I want to build and do—I achieve it, sometimes without even knowing how. It's been difficult for me to secure funding, and I'm not sure why.

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Do you have a pseudonym or do you use your birth name to represent your work? If you have a pseudonym, describe the reason for that name.
I always taught my graphic design students in the typography course the importance of being the name behind the brand. I believe great artists have always stood out by using their birth names. With a name as original and unique as mine, I use my birth name, Anastasia Carpio.

Studies and courses you have taken in your life (dates)
Anastasia Carpio is a Caracas-born visual artist with a distinguished career in graphic design and teaching. She earned her Bachelor of Fine Arts, Cum Laude, from the Fashion Institute of Technology in New York. With over 12 years of experience, she has shared her extensive knowledge of typography as a professor at the Digital Design Center Institute and the Caracas Design Institute. In 2020, she founded the design brand “BRAC Designs.” Her training as a designer, printmaker, and teacher has profoundly influenced her work, allowing her to move past the functional purpose of materials and objects and explore their potential through a purely "plastic" lens.

Artistic Residency 2022 Duplex Air, February – March, Lisbon, Portugal

Artistic Residency 2019 Alejandro Otero Museum, June-September, Caracas, Venezuela

Solo Exhibitions 2019 “Progenie, ayer y hoy” (Progeny, Yesterday and Today),Alejandro Otero Museum, Caracas, Venezuela. First solo show as a result ofthe artist residency.

2017 – 2018 “Una mirada ochenta caracteres” (A Look, Eighty Characters), Carlos Cruz Diez Museum of Printmaking and Design, Caracas, Venezuela.

Collective Exhibitions 2022 Contextile 2022 “Contemporary Textile Art Biennial ”Guimarães, Portugal

2022 ArtConnects Women – 5th Edition International Art Exhibition, Dubai, UAE

2018 Exhibition/auction “Una obra para Venezuela” (A Work for Venezuela), in alliance with the American Venezuelan Engagement Foundation and Yellow Bench Studio, Miami, Florida

2017 “Itinerarios”(Itineraries), Okyo Gallery, Caracas, Venezuela

2016 “Arte y ruido” (Art and Noise), a show of lithography, engraving, and photography in CDMX, Mexico. In mid-2016, she completed workshops in lithography, soft sculpture, tapestry weaving, and engraving at the National Autonomous University of Mexico [UNAM], at the old Academia San Carlos. “Tercera Bienal Nacional de Artes Gráficas Venezuela, homenaje al maestro Alirio Palacios” (Third National Biennial of Graphic Arts Venezuela, tribute to master Alirio Palacios), Carlos Cruz Diez Museum of Printmaking and Design, Caracas, Venezuela. “Códice XXIII,” Lithographic collective, “Huella de piedra”(Stone Print), CDMX, Mexico.

2014 Participation in the framework of “Art Basel” 2014, Miami, Florida. Guest juror at the “Salón Nacional de la Coexistencia” (National Coexistence Salon), Graphic Design Category 2014, 2016, and 2018 of the Espacio Anna Frank Foundation, in Caracas, Venezuela.

2012 “I Bienal Lo uno y lo diverso” (First Biennial of The One and The Diverse),confrontation of Art on Paper, Best Graphic Design, Caracas, Venezuela. Recognized in the “Salón Nacional de la Coexistencia” (National Coexistence Salon),Graphic Design Category with the winning poster “Illustration Mention, ”Caracas, Venezuela.

2011 “Exposición-Subasta para el Cáncer de Mamas” (Exhibition-Auction for Breast Cancer), for the benefit of Seno Salud, Caracas, Venezuela.

Other participations She is included in the books: “Marcas. Identificadores gráficos en Venezuela” (Brands. Graphic Identifiers in Venezuela), edited by the Carlos Cruz-Diez Museum of Printmaking and Design, Caracas, 2005; and in “Diseño gráfico latinoamericano” (Latin American Graphic Design) by Rómulo Moya Peralta, edited by Trama, Quito, Ecuador, 2006.

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Describe your current achievements, your goals, your way of working, how you can help people through your art, if you help people in the same field, and if it has been very difficult for you to achieve your potential.
I see achievements and goals as something very personal. For me, a great achievement as an artist was being accepted into seven European art residencies in six countries, among almost 1,500 international artists. I was also accepted into an international call that had over 1,300 participants, which literally happened right after I arrived in Lisbon. With that, I already felt like a winner!

While I was at my residency, a fellow artist mentioned a call for the International Textile Art Biennial [Contextile2022] in Guimarães, Portugal. I only had a week to create the piece I was going to submit. I told Mónica, "If I create something I feel is worthwhile, I'll participate." My goal at that moment was simply to let go and express what was inside me, which was a deep sadness, pain, and anger over the loss of my beloved father. To my surprise, the final result was three pieces made of gauze (a material I’ve worked with from the beginning) sewn with branches from local pine trees in Lisbon. I decided to submit them, and they were selected for the exhibition.

When I first arrived at the residency, I made a decision: the only thing I would demand of myself was to work everyday "without pressure." I chose to trust, let go, and create without any expectations, just hoping the work would flow. The one thing I was clear about was the material I would use: wire. Although I typically work with natural, organic fibers, wire had become a new challenge—to transform a rigid, visually heavy material into something subtle and sublime. It felt like I was going against the material itself.

I enjoyed everything around me; I was "the observer," sharing ideas with the four artists who were there, and taking in the architecture of my new city, my beloved Lisbon. I had been living there since my permanent move from Venezuela. It was there I began to realize my creative process had completely changed in the blink of an eye. The key at that point in my life was to simply trust, and that’s what I did. I'm naturally disciplined and methodical, having been a typography professor for over 12 years, a graphic designer, and an advertiser by trade, with a year of experience in fashion design.

I learned not to fight against time but to respect and understand it. I realized that a deadline for a call or exhibition has its own rhythm. I understood that what I do comes from the deep passion I feel when I see a finished piece—something we artists often find fault with! I don’t know if I inspire others with my art, but what’s important to me is that they connect with what I do. A smile or a gesture from the viewer makes me feel like a winner! My passion is my creative engine.

A person's sense of fulfillment depends on their aspirations. I don't know if I can call this "fulfillment" because what I do isn't a job; it's a passion. Every time I finish a piece, I want to do more, and that drives me to seek further growth. My goals stay in place until I reach them; once I do, I move on to the next one... and so I go! My best advice is to do what you do with passion. That is the core and the driving force that has moved me my entire life.

Where do you currently reside?
In Lisbon, Portugal

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And most importantly, describe your dreams, your passion, and what you hope for with that in the future.
For me, dreams are a part of my daily life because of the passion I have for what I do. My dream is to continue my work and have people connect with my art in a way that allows them to identify with a piece, to feel what I want to transmit. My passion is what I do every day, which is why I don't see it as a job but as an extension of who I am.

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Describe an inspiring phrase that you identify with.
"My life's engine is fueled by passion."

Describe in your own words your artistic career (it doesn't matter if you are an amateur),your way of thinking, of being, what kind of food you like, what you do to relax and have fun. Things you think people would like to know about you.
My international artistic career began in 2015, following a printmaking workshop at the Museum of Contemporary Art in Caracas. I decided to enroll with a friend I’d convinced to join me. I think I had only taken two workshops in my life, but since I had stopped teaching so many years ago, I wanted to give art a try.

What started with great excitement ended in frustration. Caracas at the time was in political and social chaos, and street protests completely paralyzed the city. So, I gave up. I called my professor, Norma Morales, and told her I couldn't continue. To my surprise, two months later, I received an email from Norma inviting me to join a workshop at the museum with 15 other artists. That’s where my hidden passion truly began. Every week, I explored something new, looking for materials that felt aesthetically pleasing and challenging, or simply using whatever was within my reach. I had no idea what I was doing or what the purpose was; I just knew I was enjoying it to the fullest.

After three months immersed in the workshop, I began to explore the possibility of formally studying art. I decided to leave everything behind, take all my savings, and move to Mexico City to study at UNAM. There, I had the privilege of taking courses in lithography, engraving, tapestry weaving, and soft sculpture. The eight-month experience was extraordinary and laid the solid foundations for me as an artist today. I made great friends and met talented artists. Sharing with them inspired me and opened me up to new ideas and concepts. I particularly admired the talent of my dear friend Claudia Méndez, a brilliant artist who inspired me every time I walked into the lithography workshop. Thanks to her, I understood what I wanted to do for the rest of my life: be a Visual Artist. Being the daughter of an architect and having worked in museums gave me the confidence and tools to understand space. I wanted to think big and create grand works—spaces where the viewer could immerse themselves and create their own story.

When I returned to Caracas, I sought out my friend and colleague Jesús Caviglia, whom I admire and respect. I invited him to my house, where I had already set up my workshop to continue the work I had started with so much passion in Mexico. I showed him everything I had created, hoping to get his perspective on my chances in this new artistic direction. Thanks to him, I was introduced to Rosamelia Herrera's Okyo Galleryin Caracas, which is where my career officially began. I sold my work in collective exhibitions for about two years until my dear friend and colleague Natalia Ponce sent me a submission for an artistic residency at the Alejandro Otero Museum in Caracas. To my surprise, I won.

That three-month residency was where I truly began to understand myself as an artist. I had daily dialogues with myself and with the space, and I understood the importance of what space meant to me. I also realized my creative and working capacity. At the time, I had no idea what I was going to create for an exhibition in a room of almost 100square meters. But I did it, thanks again to my friend Jesús, who had given me60 meters of surgical gauze. I decided to use the only material I had, and the result was an extraordinary piece that also incorporated a political statement about the daily life on the streets of Caracas. The rest, as they say, is history—the same story that begins this interview.

There are two things that keep happening to me on this new adventure in life: the materials for my most important works are often given to me as gifts, and a colleague always seems to send me a link for a submission that leads to me being selected as a participating artist. Is it luck or coincidence?

Sometimes people ask me questions like the ones Julia poses here—what I like, what I do for fun, or what kind of food I enjoy. I sometimes answer with the phrase, "there's no accounting for taste." What I mean is that we're not so different from the rest of humanity. What sets us apart is a great sensitivity for things, which leads us to have eclectic, and perhaps for some, strange tastes. My gastronomic tastes are quite varied. For me, food represents family, and it has since I was a child. Dinners and Sunday lunches were always important events in our home, and our after-dinner conversations would last for hours. Because of that, I have a special love for good food. I must confess, now that I live in Lisbon, that I don't like sardines or cod. I don't know if the Portuguese will end up loving me or not!

I grew up near the sea, which is one of the many reasons why it's so important for me to be in Lisbon. Being surrounded by water connects me to my childhood in California. The landscape inspires me, as does architecture, the complex structures that generate textures and patterns, and of course, museums.

I am a cheerful person who always look son the bright side. For me, the glass is always half full, never half empty!

Thank you, dear Claudia, for referring me to Julia! And thank you, Julia, for the opportunity to share a little about my life and to express my passion, hoping others will connect with what I'm sharing.

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Anastasia Carpio was born in Caracas, Venezuela. She holds a Bachelor of Arts in Graphic Design and Fashion, graduating Cum Laude from the Fashion Institute of Technology in New York. She taught at the Caracas Design Institute for twelve years, and in 2016, she completed workshops in lithography, soft sculpture, tapestry weaving, and engraving at the National Autonomous University of Mexico (UNAM) in the former Academy of San Carlos. This interview with journalist Javier Méndez was conducted in October 2020 to mark the publication of the catalog for her first solo exhibition, "Progeny, Yesterday and Today." Held in May 2019, the exhibition showcased the work from her participation in the fourth edition of the MAO Artistic Residency program.

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What is the main source of inspiration for your works?
My primary sources of inspiration are my life experiences and my childhood. I had a wonderful upbringing, rich with adventures and travel around the world.

How do you define Anastasia Carpio as a contemporary visual artist?

I am a visual artist. Art has been a huge part of my life since childhood, thanks to my father, a professional architect. My background as a graphic designer and teacher has significantly influenced my creative process and my dedication as an artist.

What first led you to dedicate yourself to the visual arts?

At a young age, I wanted to follow in my father's footsteps and study architecture, but that wasn't possible because of the political situation at the Central University of Venezuela at the time. So, I took his advice to study in New York and continued with fashion design, a path I had already begun in Caracas. My constant displacement throughout my life has created a "lack of belonging" that is now crucial to my work. It has become an element I feel the need to represent in my installations, bringing my travel experiences in every piece.

Looking back at this journey, how would you define the experience so far? Would you change anything about this professional odyssey?

The experience has been extraordinary. My work has been very well-received, both in Venezuela and internationally. In2019, I won the artist residency at the Alejandro Otero Museum in Caracas, and after three months there, I held my first solo exhibition, "Progeny, Yesterday and Today." At the end of the year, I decided to take my career even further. I applied to sixteen artistic residencies in Europe and was accepted into seven programs in five countries, which I'm incredibly proud of. One of these was in Barcelona, Spain, where I was awarded a 50% scholarship. I also had the honor of being selected for three programs in Lisbon, Portugal.

What first inspired Anastasia Carpio to unleash her creative process and bring "Progeny, Yesterday and Today" to life?

"Progeny" is a large-format installation born from three years of research and a personal need to challenge myself as a visual artist.

For years, I've felt a profound sense of displacement. When I returned from Mexico in 2016, after studying tapestry weaving, lithography, engraving, and soft sculpture, I felt like a stranger in my own country. This feeling of being a This feeling of being a 'fish out of water' led me to explore my past... This inward journey helped me understand my sense of not belonging, allowing me to reconnect with my family, my memories, and my origins. Through my art, I began to weave new forms and counter-forms—a dynamic web of connections that are constantly being built and unbuilt. This is my way of reflecting on life experiences, places, affections, and absences.

The materials themselves became central to this process. Using organic and recycled resources—like natural fibers, plant-based inks, sprouted grains, and discarded objects—I focus my research on what can be transformed and reborn.

Where did the idea for the title "Progeny, Yesterday and Today" come from?

This piece came from a need to connect with my roots and give a sense of belonging to the absence I felt. It was like seeing my lineage projected on the wall, as I created a journey of colors and smells that connected me to my life experiences. As I painted the gauze, I could smell the colors and relive each event in my mind, a slow-motion film of my past unfolding before me.

Justice holds great weight for me. With maturity, I've come to understand that not all of life is fair, but art helps me process and understand that feeling. I have learned to express the concept of violence through my work, not in a literal way, but through the tension between two installations: "Germination" and "Final Judgment." It's like seeing two sides of a coin, where good and evil confront each other, and a positive outcome is born from that struggle—the calm after the storm.

What is the communicative language of this particular exhibition, and what do you want to express?

My design background provides the foundation for solving my formal and artistic challenges, allowing me to transform my vision into a new aesthetic language. Conceptually, my work is rooted in the relationship between nature, the ephemeral, and permanence, which serves as a lens to explore deeper aesthetic concerns about memory and family. My art is sensitive and metaphorically constructs the vulnerability of the family nest.

What is your opinion on the social events that occurred in our country in April 2017, and why did you decide to incorporate them into your artistic practice?

While I don't consider myself a political artist or my work a protest piece, the events of 2017 were deeply significant for me. What happened in my country echoes historical shifts that have shaped societies world wide ,for better or worse. These events gave me a profound sense of belonging and rootedness, connecting me to a history that is both local and universal.

I felt a strong need to be a part of this history—my country's and my own—to find my place within a narrative of change. My art explores this theme, offering an ephemeral interpretation where everything comes and goes, yet its impact always endures. By being an active participant, I was able to process that experience, and my work became a way of sharing my journey.

What did it mean for you to exhibit at the Alejandro Otero Museum (MAO) after your participation as an artist-in-residence, and what satisfaction did this installation bring you?

That experience remains the most important beginning of my career as a visual artist. The Alejandro Otero Museum gave me a crucial platform: the chance to express myself, to create a work of significance, and to find my voice. It pushed me to connect with my art on a deeper level and, with courage, to communicate my vision on a grand scale. This trust in myself and my expression also placed me on a vital international stage. Thanks to this opportunity, my first exhibition was given context and weight, something I will always be grateful for. The show went on to earn me seven artist residencies across five European countries.

For an emerging artist, many doors remain closed. The art world can feel contradictory, with galleries and museums asking, "Where have you exhibited?"—yet offering no way to get our work seen.

For this reason, I extend my thanks to the entire team, especially Director Leoner González and Richard Aranguren. I am forever grateful to the museum and to myself for this incredibly gratifying opportunity.

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Caracas, February 2018—This past Monday, university professor and graphic designer Anastasia Carpio began her artistic residency at the Alejandro Otero Museum (MAO). This artistic, conceptual, and educational process will last approximately three months and will culminate in an exhibition where visitors to this cultural space, located in La Rinconada, can see the project's culmination in the experimental room (room 6).

Carpio said she was very excited to explore new facets of her artistic career. She noted that starting this work will provide momentum to several ideas and concepts she has been developing for some time.

"It was a coincidence that I ended up here. Like every artist, I was searching for the golden dream, which is an artistic residency—it's what gives us the push to make a name for ourselves as artists, especially if it takes place in a museum," she said. "I had applied for several options, including the ones at the MAO. In December, they called me from here to inform me that I was pre-selected. At the end of December, Richard Aranguren called to tell me I was chosen to be part of this plan in 2019."

She explained that she will now expand the line of research she has been developing for some time. Carpio detailed that the material to be used is surgical gauze, combining engraving, germination of kidney beans, among other materials. She is still considering whether to pursue three lines of artistic research or to focus on just one.

"This is a real challenge because I've been working on a small scale in my workshop. I've participated in several group exhibitions in Mexico. Here in Venezuela, I was in three group shows," Carpio emphasized. "This is something on a macro level—it's about putting a whole new proposal on stage."

It is worth remembering that the Artistic Residency is a program of the Fundación Museos Nacionales (FMN),which, with the support of the Ministry of People's Power for Culture (Mppc),aims to promote, give visibility to, and support creators who are working in the field of visual arts of any specialty. Similarly, students and national and international artists can participate by submitting a portfolio and an artistic project, which they will develop over a three-month period.

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New Territories

Regarding the ideas she will explore in this residency, the graphic designer said she might include elements from previous works. She explained that she is developing an idea that could include typographical design or (as she mentioned previously) imprint typographical elements onto the surgical gauze, despite the risk involved due to the extreme fragility of this material.

The university professor stated that, as part of the residency—which includes on-site support in production, studio space, material processing, accommodation, and comprehensive advice in research, curating, conservation, and art registration—the MAO provided her with a roll of kraft paper, with which she also wants to experiment.

"I have not worked with kraft paper as an artist; I have worked with it as a designer. I have made typographical prints on that material; who knows what interesting things I can create with it?" said Carpio, who affirmed she will continue with her artistic narrative, as she wants to continue her research work and explore into concepts like childhood, family, intimacy, and memories. "My work comes from that family-niche; I would like to not abandon that theme to see where it takes me."

Carpio does not rule out that the results of the artistic residency will generate new lines of research that will drive narratives to new national or international spaces. "Once we see the final results, we'll see if it gets attention and I can take my artistic narrative to other places," she said.

In addition, as part of the Artistic Residency, she reported that the Alejandro Otero Museum will organize guided tours so the public can get a closer look at the process that will keep her immersed in creating the pieces that will be part of the curatorial exhibition once the process is complete.

It is worth noting that last year, this graphic artist presented the exhibition "One View, 80 Characters," an artistic exercise that compiled 20 years of her career as a teacher at the Caracas Institute of Design and the Digital Design Center.

The exhibition, which was presented at the Carlos Cruz-Diez Museum of Print and Design (Medi) of the FMN, brought together 986 pieces from 180 men and women who took classes with this outstanding creator. These works were the result of exercises and experiments carried out by them. Each piece was a graphic reflection of typography design whose identity has transcended borders.

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In that sense, the exhibition showed the influence that the development and growth of typographical design has had on the works of important artists like Santiago Pol, Mateo Manaure, Carlos Cruz-Diez, Gerd Leufert, Álvaro Sotillo, and Nedo Mion Ferrario among the new generations of designers. Compositions based on major graphic movements worldwide, such as Russian Constructivism, De Stijl, and the Bauhaus, were also exhibited.

"One View, 80 Characters" broke with the classic labeling of museum design, where the explanation of each piece had an aesthetic value in a room that resembled a high-format classroom. This exhibition room had a great impact on visitors to the Medi due to the atmosphere, a mix of high-level art and a classroom.

With her participation in the MAO 2019 Artistic Residency, Carpio hopes to find new frontiers in her exploration of textures, typographical spaces, and new materials where precision in details will make her style a recognizable brand for the country's broader museum-going public.

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END- FMN Press Eduardo Saavedra Altuve Journalist National Museum Foundation‍

The names of Santiago Pol, Mateo Manaure, Carlos Cruz-Diez, Gerd Leufert, Álvaro Sotillo, Nedo Mion Ferrario, and Miguel Vásquez, superimposed in colorful compositions, greet the viewer in the first series that is part of One View, 80 Characters. This exhibition summarizes two decades of graphic design studies and reveals an evolution in the teaching of typography in various art schools in Caracas by professor, designer, and visual artist Anastasia Carpio.

"Many students knew European or American designers very well but were not familiar with the creators who developed here in Venezuela. That's how this series was born, which begins the journey through my years in teaching," says Carpio, who is exhibiting her students' reinterpretations of master designers and international art movements such as Russian Constructivism, the Swiss School, and the Bauhaus.

In the exhibition, which opens on Saturday, the true exhibitors are the students; however, the arrangement in the room, the choice of the works, and the creative direction of each concept fall on Carpio's shoulders.

"To be a designer, you only need passion. Every human being has a talent, and what's needed is a mentor who knows how to take that potential to its maximum," says the professor, who compiled creations from 180 students in an exhibition that contains more than 1,000 exercises from the typography class.

She studied graphic, advertising, and fashion design at the Fashion Institute of Technology in New York, where, around the time she graduated in 1992, the curriculum began to expand from fashion into other branches of visual creation. It was precisely that curriculum change that helped her strengthen her knowledge in the field of graphics, which she would later develop with her students in Caracas.

Students Susana Abreu, Marianne Roche, Johann Samkov, Alejandra Rodríguez, Dayag Martínez, and Leonardo Suchneck supported the installation. The latter wrote typographical identifications at the foot of each of the series that make up the exhibition. "I wanted to break with the classic labels of museography and give aesthetic value to the explanation of what each piece is," says Carpio, who succeeded in giving the museum hall an atmosphere that resembles a large-format classroom.

Although she no longer teaches, the artist is familiar with the reality of young creators. "Schools in Venezuela are suffering a lot because not only design studies but everything has become more complicated. Even buying materials is difficult; however, I am proud to see how many centers are still standing. Life continues, and having the opportunity to enter the world of design is invaluable," she concludes.

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