Xime Izquierdo Ugaz: Many years ago, I had a professor named Christina Sharpe who said something that marked me a lot: "Representation is not freedom." Do you think this applies when speaking of representation in Peru?

​

Ayleen Mayte: I believe that representation can give the drive, tools, and confidence to be how you want or who you want to be. For example, the visibility of Afro-descendant people in positions of power or success (or the mere fact of seeing more Black people in media) can help break down stereotypes and lift the negative burden placed on Black culture.

​

Seeing yourself reflected in another Black person you admire can show that you can also achieve; that society will hinder you but that it is also changing​​—that we are changing it. I believe that we must continue learning and teaching—we must not tire of repeating things, we must not stop talking and recounting experiences, we must continue looking for spaces where the Black community can be represented. And above all, we must support people who create these spaces—those who speak and say things without fear, those who have fought, and made an effort so that our community is recognized and valued.

​

Xime Izquierdo Ugaz: Tell us a little about the elements of your work. Behind, beside, and sometimes on top of the bodies of Black and curly-haired women, there is often the presence of fauna and flora. What relationship do you see between all these elements, and how are they forged in your imagination?

​

Ayleen Mayte: I think the plant thing started with my idea of ​​returning to my “natural” hair and the natural, free, and authentic beauty of each woman. I felt that plants and flowers were an element with which I could represent each woman's natural beauty.

​

And the animals, I think they started to show stronger in my illustrations at the end of last year when I began creating my 2020 calendar “Salvaje.” “Wild” for me means free, strong, and confident, and the animals that I draw represent that to me. They are strong, elegant, powerful animals—just like us when we accept ourselves and recognize the value and power that we have.

​

Xime Izquierdo Ugaz: In what ways has the use of digital tools changed your work? And how important has it been to have the presence of your work and your messages on social media?

 

Ayleen Mayte: Social media is fundamental for me. Almost all the exhibitions of my illustrations are through social media. It helps me have a more direct connection with the people who like my work. I can show a bit of my day-to-day—the good and not so good things that happen to me, my processes, and my doubts. Thanks to social media, I have met people from the Afro-Peruvian community who have taught me so much—there is so much knowledge to share. I have also formed a small community—people who follow me and comment on my work or the things I share. Some tell me about their fears or frustrations and we talk as friends. I want to believe that the relationship between the person who buys or likes my work is a little more real and close—that it does not necessarily end with the purchase. It gives us the opportunity to keep in touch, and that is nice.

​

Xime Izquierdo Ugaz: What kind of impact have you seen your art have on your community?

 

Ayleen Mayte: The most beautiful thing that happens to me is when someone writes to tell me that they feel reflected in one of my illustrations, or that the image I shared was just what they needed at that moment—that it helps them in some way. I think that their feeling represented is the best impact my art can have on people.

​

Xime Izquierdo Ugaz: What is the Colectivo Papaya (Papaya Collective) and how was it formed?

 

Ayleen Mayte: Colectivo Papaya is a group of four self-taught female artists, with many fears and doubts, but also great ideas and eagerness to be able to change things and create opportunities for girls and women.

 

We have been together for almost a year and a half. We met at a mural painting session. We painted at a school (thanks to the organization of Arte y Alma), and we got along well. We liked each others' styles—we had the same desires, frustrations, and ideas. The four of us wanted to do something else with our work, so we got together to create Colectivo Papaya.

​

It is not so easy to be able to organize between the four of us. Sometimes our time and other responsibilities beat us. Still, we continue with the intention of creating something beautiful that helps girls and women to believe in their talent and their power.

 

Xime Izquierdo Ugaz: I imagine it has been important for you to have a group of other women artists who support and build together. What is your ideal space to create? What do you hear, read, and surround yourself with when you draw? 

 

Ayleen Mayte: It's the best thing that ever happened to me. They are my art friends, who, like me, are independent. They have to take great risks. They always want and have to be creating and learning. We almost always have the same difficulties and doubts, risking, and trying something new. For example, releasing a new product can be very scary—not knowing if people will be into it, if they will buy it, if it will have been worth the effort. To have someone with whom to share those moments, or ask for advice, is one of the best supports I can have.

​

Now I work from home, I have a mini-workshop in my room, but I quite like working there. I have my little plants, my illustrations—it's fresh, and almost always my dog ​​is keeping me company. When I am very stressed, or something does not come out as I imagined it, I prefer to be without music. Other times I almost always listen to music to cry to—super emotional music that I know the lyrics to that I can sing out loud. Something that always happens is that if I'm at home and it's noon, my mom turns on her radio to listen to musica criolla. I like it; it has helped me create several times.