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Question 22: What orientation do you expect to pursue in your art?


The answer to this question will vary with the timing of you asking me. Right now, let’s say that there was a period of time in my career when I approached some galleries, I exhibited my work in some galleries. I did this on a continuous basis and as far as I’m concerned the experience I got from exhibiting was really rewarding. But after a while, I said: Ok now I should concentrate on something else instead. I like to be able to focus on some aspects of my creative activity but also to say: I’m putting this on the backburner. As to what’s coming up, I’d like to work on the photographic aspect of my image creation. I also want to work more with installation, maybe putting aside painting on mounted frames and instead focus on how to integrate fundamental painting principles with a capital P, but transform them, and instead make it into installations referring to the context of the gallery in which the exhibition takes place. I’m saying this today but it can also vary. Let’s say that sometimes I see my job becoming more personal. More private. So it becomes more elastic in a way, cause I want to reach more people at certain times and at other times, I want to narrow it down to myself and say: I can focus on what I’m doing and then I can concentrate better and create better art. So, it’s a kind of back and forth, trying to create the best pieces of art I can. Then afterwards I try to have as many people see them. But these things won’t necessarily happen at the same time. I think we have to split up the overall activities and it’s like making schedules in our mind and then trying to solve scheduling problems. They’re right in saying that time is money, and that money is time as well. It’s like when you do have time, you see how precious it is and the value it has. Of course you will try… Because people will say: Well, you know, you artists, you do what you want, you get up at 3 in the afternoon, you sit around with a joint hanging from your lip, with your long hair… We have the reputation of doing this or being like that. Just to play, we can act out this prejudice that people have, but it isn’t a good thing to drop everything and do only what we feel like. I think you have to have some discipline, and not just a bit of it, it has to be very strong, up to the point when you can say: Is the situation now under my control or…Is that my way of seeing it, how discipline will get me to do these things. It’s sort of like being an athlete trying to outdo himself: There’s a mountain, we’ll climb it, even if it kills us, no matter, let’s go. So it’s this sort of feeling you know, go forward or try to get ahead in what you want to do.  But you can’t do it all at once, that’s impossible. In the end, it only dilutes the effect. If I look at one of my pieces today. I have like, we were talking about technology awhile back, I work with a support right now, corrugated polyethylene, that’s not artist’s material, its stuff used by industries but that’s what I use. I use metal films, I use photographic film, I use acrylic that’s also plastic. I can use plaster, a very traditional material, it’s been around for 4,000 years. I have a piece in mind, I’ll try to describe it to you as I see it in my head, pencil lead, things that have been used for thousands of years, but all put together on a surface, and the thing is to look at it and think about it and then say: There is a structure, still; there’s a logic behind that thing, and, hopefully, you can find authority and mystery within it.