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15
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
WITH THIS ANSWER I AM NOT GOING TO EXTEND MUCH, AND I WRITE IN CAPITAL LETTERS BECAUSE IT IS BETTER UNDERSTOOD THAT I ADORE THE WORK OF ROMEO CASTELLUCCI.
Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
The first pieces I created during the years 2010 and 2015 with Lavinia Hervás ( with whom we formed the Diosloscría Collective) were completely autobiographical. The work I did during those years focused on autofiction of my own experience. Later on I continued investigating in this creative way with my first two solo pieces, but on the same day that I premiered the second of them, imnotrussian# (a film about your life), while looking at the piece from a distance, I realized that the time had come to stop talking about me. In fact, months after the premiere, I reworked the piece, because I had ceased to be completely interested. I think it's interesting, to understand what happened to me as a human being and an artist at the beginning of 2018, to share the prologue accompanying imnotrussian# (a film about your life):
THIS IS A PROLOGUE
imnotrussian# has been with me for so long that it has become some sort of a “road
movie”, a (film about your life).
When I started working on it I really needed to understand my own biography and my
relation with effort and failure. After four years, I got bored to think about that and I felt
ashamed for being lucky enough to have the chance to even think about my own failure
when other people live such a miserable, horrible and painful life that can’t even begin
to feel their own failure.
Little by little, imnotrussian# has become an aesthetic reflection about the concepts of
State and God, two superior entities that orbit above all of us. If i have to be honest, I
don’t understand these two concepts. I know we fight in order to reach them and I know
that State and that God (if they were ever something more than a concept) abandoned
us in this foolish fight that doesn’t belong to us. I wonder why I (why we) keep playing
that game, and a collective suicide is not my answer to this question. So I wonder if it’s
more radical to answer with beauty, with an attempt to preserve the perfection we were
born with.
From that moment on, the personal memory is still present (in fact it is very difficult for me to think of being able to work from a place that does not imply my own emotion or experience), but as I wrote in the previous text, I got tired of talking about myself. In fact the dramaturgical "trick" is the same, I write from a voice in the first person, but somehow I look for it to be a voice of humanity.
Another of the figures that I usually use to speak in my pieces is Jesus of Nazareth: I imagine an actual Jesus, one who walks through the streets of my city and who objectively observes what we are converting the world into and what we are becoming. That "God" figure has the power to say everything he thinks without censorship (it's not so much about a Christian or mystical view of life, but about the fact that there's something much bigger flying over our heads that we'll never understand. We humans are destroying everything in our survival effort...my pieces make that obvious, sometimes violently, but in the end what I'm trying to do is create a content that invites us to leave all the garbage around us).
Sometimes I feel very ashamed to be human. And that's what I'm saying with my work. I'm ashamed of our barbarism.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
Being a theatre artist, my current process of working at a technical level is somewhat strange, but it has been born in me naturally over the years and, finally, I have found my own way of working, if you want to call it like that, not academic at all. I started working this way for two reasons:
1. The need to stop, avoiding productive acceleration, the urgency of novelty and self-exploitation that we are going through in the current context. Where is experimentation if we flee from productive logic, from the mandate of the premiere and the story of linear time?
Until now I had always worked around a result, a piece that "had to be" and "had to be already". A product. When you focus your attention on the premiere of a piece, I think you abandon part of the process. I'm not saying that I'm not interested in premiering, in showing my work. But at this moment I firmly believe in the need of a space/time to be able to glimpse a result that goes beyond even what you thought your "glass ceiling". I'm not interested in doing something again that I'm not completely satisfied with, I want to surprise myself and, above all, enjoy the path that leads me to the piece. That's why I'm also interested in opening the research process on a regular basis. Because I want to share what it means to go through creation, also because one of the great objectives of the piece is the one that invites the spectator to stop and just observe, not to wait for an immediate result, to enjoy the vision of the present like the one that enjoys watching the Portuguese coast for hours. How am I going to try to transmit that calm to the spectator if I myself am not capable of finding the calm within the process?