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Question 21: What are your thoughts on new technologies that have appeared in the field of visual arts? Do you use any of these in your own creative work?

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We’d have to define new and technologies. You have the current side: what’s being done right now. But I also think it’s interesting as an artist to be able to really see the whole range of methods, the technologies that came into play in the making of a piece, whether it’s in the Egyptian era or in the Bill Gates era. It has to cover the whole period of time, and I, as a creator, must be able to pick and choose and combine the different ways to approach a theme or a topic, the different ways to bring an object into this world. I don’t like to be dictated by whomever: Oh, this thing should be done in such a way. I was talking about printmakers a while back. I don’t think printmaking techniques or the field of printmaking as such is a situation where you can create freely. On the contrary, I find there are too many constraints, too many stops have been pulled, and it’s too much like a formula that ends up making something to please collectors or to fool around with the idea of commerce. That’s how I see things when I think of prints. This goes back to the days of Rembrandt, prints exist because of that time. People back then in history started having a little money but they didn’t have enough to buy real works of art. There were not many of them, so some people said: What’s keeping artists from doing more and supplying us with stuff that we, the buyers, the collectors, want. To go back to the topic, modern technology and its advancement, I am more concerned with the progress of art itself or with the progress of human thinking. Yet again, we always preserve the remains from prehistoric times, I mean from generation to generation there’s always something we preserve, but then we also want to see something new or unique to our era, to our lives, our own individual lives. Very often, in the art field, we have a tendency to look at the movements of the past and say: There are some things I want nothing to do with. For years, when it came to all of the religion-themed art, we’re talking about Giotto, Cimabue, those people, just to give you an example, as far as I was concerned that didn’t exist in my head. I had no preconceived notion about that, I wanted to know nothing about that stuff. But over time, I started to see that it wasn’t only my idea or my attitude towards that art. Something else was behind it and then I started to let the thing sink in. And what’s funny is that we say we can’t really point out something and then say: Oh, that’s the marvel, that’s the discovery, because next week, we might not think that way. Just like the opposite might happen too. We can say: That’s stuff I’ll never use, I don’t need to have access to that stuff, that stuff doesn’t count as far as I’m concerned. But, at the same time, you might want to. So it’s a matter of keeping your mind open and to be aware that each one of us as an artist needs to do work in a way that’s more…I wouldn’t say easy, but in such a way that there’s flow and there’s no constraint, no stick in the wheel that’ll keep us from creating. I think that’s what counts. It’s that the ease, the freedom with which the artist can express himself is seen in his or her work and is felt too. It’s not easy to do. You can’t fake spontaneous. It’s somewhat like faking a smile, you can tell it’s not a real smile. So, I think the human eye is very very sensitive, just like the human ear is very sensitive too. Our senses are really sharp and we can see, detect this kind of difference. I for one like to think that I have an open mind. I can’t wait until they come up with 3-D TV. I tell myself that this is going to come one day and we, the artists, will have to use it. It doesn’t exist yet, at least we’re not seeing it, but let’s say I see that in the future, it’s something that’s bound to come up. But we have to keep asking ourselves: what’s our role vis-à-vis that stuff and how do we want to deal with those things. We can keep ignoring them and say I want nothing to do with it, but we can also throw ourselves into it heart and soul, and do something with it.