SP: The lights that you use as a medium in your sculptures are commercial lights that are easily recognizable to the common people and are often seen in public places like amusement parks. How would you differentiate your installations from such spaces?

GA: This is a great question. The way I program my work is distinct. The commercial lighting you see in an amusement park blinks or flashes in sequences created by computer algorithms and generic hardware.

All of my electronic components and materials are custom-made to meet my vision. Each LED is high-quality, vibrant, and individually programmable. I create each of my lighting sequences onsite, observing how the lighting sculpture communicates with the architectural space. This makes the work organic.

SP: How do you link your Peruvian ethnicity with your light and sound sculptures?

GA: I draw inspiration from the communities that surround my work. My Peruvian cultural heritage influenced my earlier pieces, such as Uros House or Light Between the Island among others. I grew up by the pacific ocean in Peru. Watching the foam bubble up on the shores of my homeland inspired both the spherical shapes and the quality light found in much of my work.