Nicolas Sassoon

junio 17, 2015

To start from the beginning, how did everything started for you? What was your first approach to the arts?

My first conscious approach was at 17 when I started after-school art classes, but everything began much earlier in the 90s with videogame consoles and home computers. Computer graphics were present very early on and they have always existed on the same plane as painting or cinema in terms of hierarchy of experience.


That you remember, what were the first works of art that impressed you? Do you remember any artist that impressed you?

The first images that left a strong impression were mainly screen-based; the graphic interface of the Apple Macintosh, the Gameboy screen, the Atari 2600 pixels seen through a CRT monitor. During high school and for the bigger part of my art school years I collected VHS of horror and science fiction film; 80s Italian horror (Giallos from Dario Argento, Lamberto Bava, Lucio Fulci) and American horror (John Carpenter, Sam Raimi, David Cronenberg). I wasn’t particularly exposed to Fine Arts when I grew up and artists came much later into my aesthetic registry. Jesus Rafael Soto and Bridget Riley would be some of the first important ones.


Who are the artists that you like nowadays?

The ones resisting.

Did your work receive influences from other disciplines?

Motion graphics, horror and science-fiction literature, the Vancouver electronic music scene, anything related to water.


What is the process of developing your work like?

It depends on the project; most of my animated work is a mix a methodology as well as trial and error. When I work on screens a lot of attention goes towards how my work exists within that space. When I work with physical space I tend to produce site-specific installations, in continuation with my screen-based approach.

How would you define your work?

Nerdy and contemplative.

nicolassassoon.com


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Victoire Barbot

junio 9, 2015

To start from the beginning, How did everything started for you? What was your first approach to the arts?

I think everything started when I could be able to hold a pencil in my hand and start to draw.

It has been the best way for me to express myself, way before to use language.

About sculpture, my first approach has been probably in kindergarden school when my teacher gave a block of stone and some tools to digging it.

Quite small, I was already fascinated by the objects collected by my family, the analytical drawings of my grandmother.

What is the importance of the art history in your work? Do you admire works or artists that influenced your ideas about art?

The art history is important for me to understand where I am, and inevitably its study allows me to put words to what I do. Of course, it influences but what is excitant.

Of course, I’m looking for it. I look more than I read, I watch a lot, online, in museums, galleries, but first of all around me. This is the best influence.

Art history is important to know where I am going, to make words about what artist are doing, is it really important for me, I don’t know.

I have a practice of a collector, I collect materials to make assemblage; I do lists; one of them, is a list of artists that I look at. It’s such a big list, Robert Rauschenberg (the Jammers serie is uuuuu), Joseph Cornell, Robert Filliou, André Breton, Marcel Duchamp, Lawrence Weiner, …but also Henri Matisse…

I can’t stop actually. 

Oh! and El Lissitzky drawings for sure.

What are the artist that you like nowadays?

Should I Make a scan of this list?

Thea Djordjadze, Gedy Siboni, Abraham Cruz Villegas, Helen Mirra, Lisa Holzer, Andy Coolquitt,  Annette Kelm, Marlie Mul, Callum Innes, Uri Aran, Ian Law, Olga Balema, Sarah Tritz, Manfred Pernice, Artschwager…

What is the process of developing your work like?

It’s definitely a process.

First I watch, then I collect, I assemble, I balance, I hold, I draw to fixe the action, and I tidy up, I order, I stabilize, and I redraw again, recently I pack, I built, I represent.

First step is under control, simple gesture. It is an art of experience.

How would you define your work?

Sensibly Methodical.

terremoto.mx/same-same


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Armando Rosales

junio 8, 2015

¿Cómo empezó todo para ti? ¿Cuál fue tu primer acercamiento a las artes?
Mi primer medio expresivo fue la música, accidentalmente termine tocando batería, eso derramo de muchas otras sensibilidades que tuve que justificar, dibuje, pero teniendo una relación con el cuerpo lo tridimensional logro resonar mas.

¿Cuáles son tus referencias? ¿Admira obras o artistas que influyeron en tus ideas sobre el arte?
A line made by walking de Richard Long. Valoro su simplicidad, eso es algo bastante distinto a como me acerco al arte.

¿Cuáles son los artistas que te interesan actualmente? ¿Existe alguna obra referente para tu trabajo?
No puedo contestar claramente esta pregunta, soy muy desorganizado en ese aspecto. Todo tiene referentes, sinceramente no me preocupa mucho manejarlos, aunque que creo muchas veces una referencia es mas valiosa como pista para saber que no hacer.

¿Recibió tu pensamiento influencias fuera del arte?
Definitivamente de la música y también del cine, me interesan como ejemplos del uso del espacio y el tiempo. No puedo dejar de mencionar la física y el ejercicio, como brechas y posibilidades de lo narrativo.  En resumen de la realidad en general, de las constantes humanas y de la reiteración “científica” de preguntarme como funciona todo. 

Al producir arte ¿Cuál crees que es el recurso más importante con el que puedes trabajar como artista?
Poder articular mi intuición.

¿Cómo definirías el arte que realizas?
Decantaciones, interferencias y paréntesis, la tensión entre dar y quitar.

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