El mito del creador describe a estos hombres y mujeres recluidos en sus talleres y escritorios aguardando el rayo de inspiración divina. Esta narrativa ha sido cuestionada por negar el carácter humano de los artistas, afectados por sus experiencias mundanas y diversos contextos históricos. Siguiendo esa línea, es interesante pensar no solo en el contexto general sino también en el mismísimo lugar donde se desarrollan las obras: el taller. A medida que mutamos y cambiamos de capullos, nuestras creaciones también lo hacen.

When thinking about their workspaces, Guillermina returns to her childhood, which houses the first space of experimentation: the garden. "I used to hide among the plants and create a refuge of imaginary worlds through them. Flower crowns and necklaces were the costumes I used while reading and painting.

In my little plant houses, experiments with the pure elements the garden offered me reigned: perfumes with honeysuckle nectar or sculptures made from clay towers."

The inheritance of those endless hours among plants, insects, and silent trees created a symbiotic relationship between the eerie realm of nature and the artist, which is evident in her multiple productions.

Luego pasamos a su segundo taller, un galpón compartido con otros artistas, en el año 2016. “Una poderosa carga energética atravesaba este galpón donde convivían artistas trabajando en murales, joyas, materiales reutilizados, ladrillos. La música invadía cada espacio del taller, contribuyendo a este flujo de ideas y energías multidisciplinarias.

Each member had their own space, and others respected this privacy, always available for any exchange or opinion needed. In this constant view of the Other, I learned about the power of community and dialogue. Within this industrial warehouse, nature emerged in all my works. Its huge dimensions allowed me to expand with my velvets and aquatic worlds. Like a palimpsest, multiple stories began to be written in the layering of images and material."

The warehouse was sold, and Guillermina moved her new cosmos to a small neighborhood house. Here, a more intimate studio was created. The various rooms in the house were essential to the process: in one room she drew, in another she mixed colors, and in a larger space, she worked with textiles. It was a period of extensive production and introspection for the artist.

The plants in the yard, many of them gifts from neighbors, and the curious orchids peeking through the window became part of her and, consequently, of her work. Like a vine, they began to conquer her ideas, fabrics, and frames.

Starting in 2020, her workspace became a studio located in the garden of the house, a small underground cave with irregular energy flows. A kind of ritual develops with the plants: each time she descends to the studio, she touches them with her hands, greeting them. Through touch, she feels their textures and skins, preparing to enter a workspace that seems to merge with nature.

"In a constant state of wonder, I observe the color groupings in the flowers, the morphologies of the stems, and the coquettish hummingbirds that visit this small ecosystem unfolding on the hillside.

The garden is filled with blue wildflowers that resemble small brushstrokes from an impressionist painting. From there, I can hear the wind making the leaves dance in a waltz that seems endless. I become a child again, returning to the lost paradise and hiding among the mysterious agapanthus, the ineffable orchids, the passionflowers, and the velvety Chinese roses. I lose myself among the algae, fungi, fish, and aquatic flowers that group together and form a hidden universe within the pond. Tender grasses burst through the middle of the cement floor, demonstrating their urgent adaptability to the environment.

They remind me of my beloved orchids that bloomed during the pandemic, in conditions that defied their own laws. Nature never ceases to show me its constant reappropriation of change," explains Guillermina Lynch.

Just as Monet fed off his carefully tended water lily gardens, I believe that the exuberant and infinite species surrounding her translate into the universes within her creations.

Text written by Cayetana Muniz Barreto through an interview February, 2021.