Artist Statement:
The artist today is a participant observer of everyday reality as this term is used in anthropological research. As such, he/she is increasingly involved in a process of focused documentation, identification and interpretation from within of events comprising a broader, dynamic and changing cultural reality. The scope of the term ‘observation’ has also been broadened and defined by the interaction of a diversity of levels of information closer to the idea of habitation. As a result, in artistic practice today images circulate as a myth or biography in what is primarily a media-defined narrative reality, linking observer, observed and the outcome of such observation into a single, mirror-like line. As a primary form of drawing, this line becomes the territory of personal myth, linking and describing aspects such as the habitation of place, the definition of space, gender, aging and so on in a historical continuum made necessary and coherent by human understanding.

In my work, which I understand as such a form of habitation, I seek to overcome the gap there is between observation and the observed, using autobiography as the bridge between these two dimensions of reality. Understood as a form of order identifiable and drawn (literally) from an everyday reality that is mobile, drawing functions here as a diary, as an exercise in method in a formal, theatrical sense, and also as the means of anthropological observation and recording. At the same time, however, such observation and recording yields elements of form and content through which to translate a changing and information-based reality into the monochrome pictograms of a visual language. Therefore, as a language, visual form is linked in these works not to the exchange of vocal sounds but to the long-term reiteration of the physical gesture of drawing as a sign comprising a personal history of bodily postures, with the sense of touch as evidence of human presence. The outcome of such performative rigor cannot be read out loud, only written and it communicates not the story or the chronicle of an event, but its own abstract being describing in visual detail a place that cannot be seen in words that people cannot hear.

Awards:
2004, Fund for the Development of the Arts, FONDART, Ministry of Education, Chile. Project title: ‘Distance and Mobility, 100 Drawings.’
Tom Bendham Drawing Prize, Royal College of Art, London, U.K.1998,
Fund for the Development of the Arts, FONDART, Ministry of Education, Santiago, Chile. Porject for the production of 15 large drawings.
1990, University of Valparaíso Prize (First Prize), Young Artists Competition, University of Valparaíso, Chile.

Exhibitions:
2003
The Show I, Royal College of Art, London, UK, Selected Group
Drawings, Hockney Gallery, Royal College of Art, London, UK

2002
Work in Progress, Drawings by Elaine Kowalski, Gail Henderson and Paul Beuchat, Drawing Studio, Royal College of Art, London, UK

2001
Someday all this Will be Yours, School of Sculpture, Royal College of Art, London, UK
Latin American Painters, Instituto Cervantes, London, UK

2000
Museum Piece, Center for Continuing Education, Pontifical Catholic University of Chile, Santiago, Chile. Solo

1999
Bodega 4, Group Exhibition, Vitacura, Santiago, Chile
International Biennial Print and Drawing Exhibition: R.O.C.., Taipei, Republic of China
Drawings and Objects, Paul Beuchat, Cristián Silva, BECH Gallery, Santiago, Chile
Laboratorio 9: PostHUMAN,, Balmaceda 1215 Gallery, Santiago, Chile

1998
Social Security, Installation, Instituto de Normalización Previsional, INP, Santiago, Chile

1996
Drawings, Claudia Missana / Paul Beuchat, Galería del Cerro, Santiago, Chile.
“Drawings”, DUOC foundation, Vina del Mar, Chile

1995
Inventory, Manuel Robles Gutiérrez Gallery, Renca, Santiago, Chile.
Anomalies, Paul Beuchat, Pablo Rivera, Victor Hugo Bravo, Felix Lazo, Posada del Corregidor Gallery, Santiago, Chile

1994
Exhibition of Past Winners of the Young Artists Competition, Valparaíso University, Valparaíso, Chile
Collection of the Valdivia Museum of Contemporary Art, National Museum of Fine Arts, Santiago, Chile
Group Exhibition, Abney Galleries, New York, United States

1993
Keeping an Eye on the Meat, Drawings, Benjamin Vicuna MacKenna Museum, Santiago, Chile

1992
The Passageway of the Flies, Drawings and Watercolors, Escuela Moderna Gallery, Santiago, Chile
Group Exhibition, Chiloé Museum of Modern Art, Castro, Chiloé, Chile

1991
Prix Ars Electrónica, Linz, Austria
SOHO on the Run, Montserrat Gallery, New York, United States
Art on Paper, Maryland Federation of Art, Annapolis, Maryland, USA
Group Exhibition, Chiloé Museum of Modern Art

1990
Interface, Computer Graphics, Vina del Mar Gallery, Vina del Mar, Chile
Half a Tunnel, Computer Graphics, Lo Contador Campus, Catholic University of Chile, Santiago and School of Engineering, University of Chile
XII Young Artists Competition, El Farol Gallery, University of Valparaíso, Valparaíso, Chile
Open Museum, Chilean Contemporary Art, National Museum of Fine Arts, Santiago, Chile
National Juried Exhibition, San Diego Art Institute, San Diego, California, United States
Overture 8, Nexo Gallery, Santiago, Chile

1989
Eyes Faces, Bodies” Computer Graphics and Painting, Contemporary Art Gallery, Buenos Aires, Argentina
Third Latin American Encounter of Works on Paper, ALAP, Buenos Aires, Argentina
Latin American Artists in Rome, Argentina House, Rome, Italy
Chile-France Biennale, French Cultural Institute, Santiago, Chile

1988
Second Latin American Encounter of Works on Paper, Contemporary Art Gallery, ALAP, Buenos Aires, Argentina

1987
First Latin American Encounter of Works on Paper, Latin American Association of Plastic Artists, ALAP, Buenos Aires, Argentina

1986
Sobrepapel, Works on Paper, Eugenio Castro, Paul Beuchat, Espaciocal Gallery, Santiago, Chile
Paintings, Bucci Gallery, Santiago, Chile
VI Valparaíso International Art Biennale, Valparaíso, Chile

1983
Four Students from the Catholic University, Goethe Institut, Santiago, Chile

1982
The Tree, National Museum of Fine Art, Santiago, Chile