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Meet Ana Carolina Estarita-Guerrero

Today we’d like to introduce you to Ana Carolina Estarita-Guerrero.

Thanks for sharing your story with us Ana Carolina. So, let’s start at the beginning and we can move on from there.
I was born in Colombia where I studied Visual Arts and started working with an Experimental Immersive arts collective called RecLab. When we started working in RecLab in 2007, terms like “Projection Mapping” “Interactive Art” and “Immersiveness” were rather unknown to the arts community in Colombia. As a collective, we created a strong network that expanded outside our country, working collaboratively and bringing artists from all over the world to meet us in this space we called “El recódromo”, where we met once a week to experiment and create projects we would later show in public spaces.

Though the community in Colombia was vibrant and very open, during the visits of the international guests that would come to “El recódoromo” I grew curious to connect with a wider international community, where the access to cutting edge technology was more immediate. That’s why in 2016 when I was awarded the International Artist Fellowship by the University of Southern California, I moved to the United States. As soon as I landed in Los Angeles, I started looking for the ways in which the community organizes around art and the artists. That’s how I found GLAS and its animation festival which I am part of as Festival Coordinator, Programmer and head of exhibitions.

Parallel to GLAS I joined different collaboration communities of artists work on tech and arts as Browntourage. A product of those collaborations is Good Girl, a transmedia art installation I did with Tonia B******. The project that was awarded a Jaunt Grant for development had been showcased in Femmebit and Slamdance among other shows. More recently, I collaborated with Tonia to develop a VR experience for Vibration Group, an immersive Sci-Fi experimental Opera directed by Anna Luisa Petrisko.

At the end of my Fellowship in USC I got together with Brenda Chen and Crystal Jow to put together Reflection Points, one of the more exciting achievements of thus far in my career. Reflection Points was an all immersive interactive show that took place in DTLA for three weeks. The show that served as the premiere for Circles of Care was a hotbed for future collaborations with dancers, musicians and other artists.

In a more commercial side of my work, during the last year I’ve had the opportunity to work in award-winning projects like Getty Unshuttered II, a projection mapping event and exhibition in the J. Paul Getty Museum as a projection Mapping Lead and Gallery Designer.

Great, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
One of the caveats about working in an emerging field is that there’s no such thing as a smooth road. There’s no road at all, but that only means I get to make my own road. I’d say that an immersive media designer is overall a creative troubleshooter. The day to day is full of unforeseen challenges but also uncountable opportunities to learn and try new stuff. Working in a field like this forces me to learn how to feel comfortable in the face of uncertainty but also keeps me on my toes learning. I get this impression that by the end of every project, I’ve mastered a technology that, as new and groundbreaking as it was when I started working on it, has been rendered obsolete by the release of the piece. Though the principles translate from project to project the thirst for learning new things is critical to keep relevant in this field.

We’d love to hear more about your work and what you are currently focused on. What else should we know?
I am an Immersive Media Designer and a Creative Technologist. In my work I create lively environments using visuals that mix the organic and the digital. These colorful living spaces are rendered through Cinematic and Interactive VR, Projection mapping, Mixed Reality or Interactive Installations.

One of my favorite things about the work I do is the ways that immersive media can connect with all types of public, delivering a high concept message as well as an entertaining experience. Through the years, I’ve seen adults, kids, academics, artists and lay people connecting and experiencing the projects I’ve worked on with the same joy and the same sense of discovery.

Finally, I am also very happy with the great community of artists I get to work on a regular basis and the projects we create connecting our talents.

What moment in your career do you look back most fondly on?
Honestly, it is very hard to pick a proudest moment. I feel each project is unique in its challenges and the collaborations it fosters. But I’d say there’s two moments that feel very good every time: one is whenever I am in the midst of a project and I overcome a core design or technical challenge that had been bugging me for days or even weeks. The other is at the end of every project: when things are open to the public and people are enjoying the work, I get this sense of connection, with my work, with the people who helped me get there and with the spectators that give their time to experience the piece I created.

Contact Info:

  • Website: aestarita.com
  • Email: a@aestarita.com
  • Instagram: @a.estarita


Image Credit:

SERED PHOTOGRAPHY, Xiaobo “Daniel” Ma

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