Ofrenda Celeste is a series of installations made by Sixe Paredes and the Peruvian artist Valentino Sibadon, better known as Radio, in the Nasca desert and in Lurín, Peru.

A play on cosmic mysticism and interaction with the spiritual world as a whole, Ofrenda Celeste was made as a process of appropriation of symbols and archetypes related to the concept of energy. Creating energy collectors in the terrestrial or telluric vastness of the void, the artists made different sculptural pieces using primitive materials such as wood, paint and rope. Through these pieces, they represent the artists’ own ancestral worldview.

Noting the identities of the pre-Hispanic cultures of Peru, and other great civilizations of the ancient world, Sixe Paredes links totemic idols and some ritual objects as well as magical and religious symbols frequently used by shamans and high-ranking personalities to this work. Examples of this include the scepters of power or the batons of command. In this process the artist also involves the idea of the “Tree of Life”, another theme developed throughout human history in various cultural variations and used in both science and philosophy as well as mythology and religion in order to illustrate the essence of life on Earth.

It should be clear that these pieces are not placed on the ground in relation to the Christ network, or to certain energy points of the Earth – places that, according to tradition, contribute to tune our sensory perceptions and our physical and emotional wellbeing, enabling and preparing us in our process of transcendence.

The Peruvian artist Radio, intervenes in this process by producing visually minimalist pieces, which contain multiple layers of encrypted information. Abstraction, symbolism, the interpretation of subtle energies and the “search for the divine” are confirmed as a constant in his work. In Ofrenda Celeste, the theme of sacred geometry takes on a peculiar importance, for which the artist suggests: “geometry is the reflection of the divine matrix that modulates all forms of nature”. The artist frequently returns to the triangle, universally associated with the number 3 and “divinity”, and evolves it into another fundamental geometric entity, the pyramid, a primitive figure in the world of third dimension volumes.

These actions took place between 2013 and 2014. The first incursion was made in the Nasca desert, a few kilometers from the Cahuachi Ceremonial Center, an emblematic place, occupied between 110 BC – 400 AD, in which Nascan culture was developed. The second installation was in Lurín, near the great temple of Pachacamac, located on the right bank of the Lurín River. This location was the main sanctuary of the central coast of Peru for more than a thousand years, and frequented, according to the account, by the creators of the Nasca Lines.