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He was born June 24, 1968 in the city of Santiago, Chile. At five years old he moved to Quito, Ecuador where he spent seven years .From very early developed a taste for art. His entire childhood was spent painting and recycling or disposal every object that he found.

In Ecuador enters l Albert Einstein school, soon after and entertained his companions drawing in recess, this ability as premature let him to be selected to illustrate images of some biblical stories, which were published in the school yearbook.

At 12 he returned to Chile, to the Hebrew Institute and finished  in 1986.

Enter to study Design, majoring in equipment career in the year ending 1991.During its period of university studies, deepens with parallel classes in ceramic sculpture, Human Figure and aluminum sculpture at the School of Art at the University of Chile.

He makes his first exhibition of sculpture in the Duoc Center of the Catholic University of Chile.

In 2006 he entered the private academy of Master Hernán Valdovinos, he learns of the "Oil for Velatura" technique, used by Renaissance painters learned by Valdovinos in Florence.

His debut as a painter to be selected for the collective exhibition "Art of Jewish root" in the Israelite Circle of Santiago.

Then in December 2012 Exposes his own exhibition "MYTH-LOGICA" in Providence Youth Cultural Center, which earned him two reports on TV.
In May 2013 Inaugurates the own show "Lech Lecha" in the Israelite Circle of Santiago.

Due to the success and high turnout, is selected to exhibit his new solo show "The Mural of Genesis" which opens on December 16, 2015, in the morning at the Palacio de La Moneda, act of Hanukkah in the Currency, event in which takes the stage and delivers the work "matriarchs", the President of Chile, Michelle Bachelet Jeria.

In the afternoon, he remounted the exhibition in the Sephardic Community of Santiago, an event which had a turnout of nearly a thousand spectators.
In September 2015 the exhibition "Messengers" in central Chile Wizo this was  repeated in December of the same year in Santiago Sephardic Jewish Community .

By March 2017 they are scheduled two exhibitions in New York City in Edmond Safra  congregation,  and Young Israel of Harrison.




REVIEW OF HIS ARTWORKS, by the New York writer Al Sundel , 2015


There has never been a visionary artist quite like Mauricio Avayu. He is a top-tier talent who has taken a singular extraordinary turn in modern art. For his work seems to belong to the Quatrocentro, where West European religious art bloomed in quiet green gardens of nativity and crucifixion themes. Leonardo broke with this tradition by concentrating on mother and child, and an elusive feminine smile that hinted at a secret the viewer can only guess at (pregnancy?). Michelangelo also broke with it to show God’s pointing finger almost in eternal touch with humanity’s across a synaptic gap. Michelangelo dared more with his Hebraic ground-breaking statue of King David in slingshot youth. 


Quatrocentro art was themed to an unschooled mass audience, more Christian in focus than the Nicene Creed. It generally avoided anything Hebraic, paid for by the Church or superrich landowners. At the same time, the teachings of the Jewish fathers to the faithful were for too long to avoid graven images (as flourished in the ancient world). Those Jewish artists who crossed this line by Quatrocentro times did so generally in a blurry style, like an out-of-focus camera that does not recognize clean borders.


It is fitting that, in an age of time-space union, Avayu has created his own modern vision of ancient Judaic traditions. His major themes are faith and continuity. From Genesis to the Talmud. In a vast array of masterworks that span chronological time. Thus, a pre-rabbinic scholar, with the Book in hand, can embrace a congregant with an expression that broadcasts one of the crucial essences of Judaism: compassion. It is all low key, like the Mona Lisa’s smile. It appears to encompass both the prophetic and rabbinic ages of Judaism, in a style clearer than crystal. Prophet, sage or Talmudic scholar are all compressed for the seeing eye as compassion. The time cannot be dated; like Mona Lisa’s smile, it is eternal.


In the Chilean corner of Latin America, Avayu has created a great body of masterwork, including a gigantic mural. Most details of any piece or parcel, such as fretwork or his clockwork-innards racing horses, can stand as art alone. Recognized in his own country, he is now reaching out to the greater art world itself. He is a revivalist, reviving a lost Judaic civilization in religious and unifying terms in a secular age. We have never seen this before so clearly.