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Erika Silvestri Villanueva
Caracas, 1981
esilvestri@gmail.com
WORK EXPERIENCE
ORUGA FILMS (Caracas, Venezuela)
Art Director for the team developing the web platform of Sony Entertainment Television, AXN and Latin American Idol.
LEGENDSOFT (Caracas, Venezuela) Graphic Designer Development of several web projects as freelance.
LEO BURNETT VENEZUELA (Caracas, Venezuela) Art Director Freelance for Alimentos Heinz, Electricidad de Caracas y Monaca
ANDREA CARUCCI, JOYERÍA ARTESANAL (Madrid, Spain)
Workshop Assistant in the production of ceramics, stone and metal pieces.
MASSERATTI 2lts
Graphic Designer of the Venezuelan electronic music duo. Image, concept and design and all its applications. Concept, production and visual animation for life show and website.
ZURDA FÁBRICA DE IDEAS (Caracas, Venezuela)
Art Director in the marketing field of McDonald’s de Venezuela and Ballantine’s Scotch Whisky, in charge of developing communication strategies and graphic proposals together with a working team.
NERI DESIGN GROUP (Caracas, Venezuela)
Graphic Designer in charge of developing together with a working team, the corporative image of several Venezuelan banking and charitable institutions as well as American franchises.
GRUPO ESTUDIANTIL CATARSIS TEATRO (Caracas, Venezuela)
Design, execution and staging of scenography and advertising material.
STUDIES
Universidad Central de Venezuela 2003 (Caracas, Venezuela)
Italian Basic Level
Escuela de Comunicación Visual PROdiseño 2003 (Caracas, Venezuela)
Visual Communication Degree
Academia Merici de Venezuela 1999 (Caracas, Venezuela)
High School Diploma in Humanities
Without knowing it, five years ago the pot was already in the stove. Folkorika was franticly fluttering in our heads, trying to rescue something of our identity, in the form of a student project. The Yare Devils were our first field experiment, and there they stayed full of dust until the day Sigal and Gustavo decided to rescue and take them to London in the name of Venezuela. From that very moment the lasting déjà vu began. We decided to give all the necessary support to Sigal and the British Council, in order to test what she decided to call the Mondongo Experiment. We began to rescue notebooks, notes and files of that time when pendrivers did not exist, and week after week we were moving forward, pealing ideas and boiling theories, that together with the spices of our teachers, turned out into a multicolor soup of layouts and letters, that still needs a while to boil.
The result that Experiment has had until now has been in my opinion quite impressive. A project stored for so long was rescued and adapted in a brilliant way. I keep thinking that it was necessary for the project to be in the hands of a third party, completely alien to the 2003 process and with the batteries fully charged. Since the creation of this project it could lead to many misunderstandings and having put it into practice with a group in a certain way alien to the process, it threw results and elements that might give a break both to the design and the designer. The process is a method of observation and detail, sensitivity and visual richness of our culture, a culture in the breach of bursting, but that it is still there, full of colors, forms and ageless. Still remains a long distance, however, this is like winning Miss Venezuela.
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