The work of Ccopacatty is exuberant, dynamic, tragic, structurally stable. The forms grow from his life, in the Andes of Peru; from his ancient culture, the Aymara; from Lago Titicaca, the sacred lake of the Inca and his island birthplace. That place and people are the point of departure in his themes of family, work, struggle and triumph, evolving sculpture and sculptor to the universal human drama and the universal human. He says, “My sculptures have a relationship to time and distance. My work reminds me of my history, my spirit doesn’t forget this ancient dimension. As a sculptor, I have this same urgency to connect the past with the future. I am still answering this question. It has to do with a process of investigation, pre-historic stone, modern techniques,unification… “.
Ccopacatty’s art is dramatic and monumental, notable for his particicular ability to define movement. His sense of the dynamic is established in the open construction of his pieces. The drawing clings to the finished work, an element of how the construction began, an insinuation of tendons, bones, muscles. In his search he says, “I look for the dynamics of movement and externalize the internal structure of the human form”.
Amongst others, dancers and doctors find great joy in his work, the first because he has captured a gesture halfway between one movement and another, the second finds surprise in the accuracy of the human structure, expressively composed beyond the rigid limits of the material. The fluidity achieved in his metal sculpture, comes from Ccopacatty’s insistence.., “to master technique, to dominate the material”. He uses the material of technology to sympathize with a humanity victimized by its own discoveries. He hopes in liberating metal to art, in re-use of the discarded, to relate the idea of humanity as its own solution.
Ccopacatty is interested in art as a communication, interested in large-scale art as a way of sharing. The sculpture, the murals and reliefs hold one thread, that of a monumental, heroic humanity, gathering together in great energy, in a particular moment called art or prophesy. He amplifies his artistic search, by focusing on the power of art to synthesize and express a universal humanity. The success of his effort, may be measured in the words of one critic, who says: “Since arriving in the United States, his work has increased in power and importance. Using his South American perspective, he may be the most prolific and articulate recorder of American life”.
Ccopacatty attended the National School of Fine Arts in Lima, Peru. In 1975, he held awards as the most outstanding sculptor in metal and the mural. He graduated in 1976 with the Medalla de Oro, the highest honor in sculpture. He continued his studies at the National School of Fine Arts, on a post-graduate level. His sculptures are in private and public collections throughout the world. Since his arrival in the United States in 1981, he has exhibited extensively and installed large-scale commissioned sculpture. He has been commissioned to paint large, exterior wall murals nation-wide.
Ccopacatty visits Peru frequently and maintains a studio in West Kingston, Rhode Island, USA.
The sculptor, Ccopacatty, is a unique voice for the indigenous Andean peoples. His work is an expression of the rich cultural history of the Andes and his personal identification with it.