Heather Brooke Deep Throat 2010

Earth to Time Magazine, Pregnant Women Are not Skinny. Loris S. Simon Guest Blogger





few years ago, in 2007, I had the opportunity to interview Carlos Cruz Diez for the magazine Literal

a visit to Houston for the opening of his exhibition at the gallery

Sicardi . The interview would take place when the teacher was available and that given the conditions of travel and the need for their presence in the gallery, we had no set itinerary. María Inés Sica called me one Saturday and I said, "the teacher has time for the interview, come now." I was eating with my family, we just ordered some dishes for the table center, so they stand at present, could be seen as an act of bad taste. Still I tried to be as gentle as possible and with the bit still in the mouth, I stood on the table and ran with my daughter to the car, she would record the entire conversation on video. We arrived at the gallery, Mary Agnes had arranged everything so that the interview would take place where it had made an installation for the chromatic motion is expose in just a few hours, we bathe with their colors during the whole conversation. I started the questions a bit nervous, after all, one does not always have the opportunity to talk with artists of this caliber. The warmth of the teacher I was calming down and the result was a dialogue by other profits and enlightening. Then share a snippet of that conversation, however, the full interview can be found here

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Rose Mary Salum: In the distance, as Cruz Diez art can transform not only in Venezuela but in the world, we know that his pictorial language is the result of years of research, to display color throughout its motion. How does Cross Ten to create his pictorial language? How plasma in a canvas the changing condition of color experience? Carlos Cruz Diez: Having given these solutions, with these results, it is the product of a lengthy discussion, very costly in time, in lectures and in failure because you get to the perfection of what to do with accumulation of multiple failures. To find suitable solutions that you believe you have to experiment a lot, really hesitate to find a structure to confirm and which form the concepts that one has made the art or what they think may be the art. For me, art was to be painter. I am a painter, I trained as a painter and call myself a painter. And the key instrument of a painter is the color: it was there where I could find some possibilities for changing concepts because the artist, making throughout his career is precisely to find new outlets, new concepts for the spirit and openness knowledge. Because art, as I have said great artists, is knowledge, is true knowledge. The color is not permanent or eternal
as the notion that we in the West that all is eternal. The color is a factor and all my work demonstrates that changing condition, which is constantly changing and ephemeral world of color. RMS

. The pointillist used the point, why Ten Cross
uses the line?
CCD.
One point of departure for my research were the impressionists, post-Impressionism, Fauvism l, all artists like Delacroix, ue saw the possibility of changing color painting, the art itself. The pointillist and post-impressionism, discovered and put into evidence that the color was changing but precisely in its contradiction, because every generation creates contradictions, impressionism creates a contradiction, establishing the color changing status, but expressing it in a static support. The Impressionist wanted to express the fragility of the light, but did on a stand eternal: not modified. Pointillism did the same. What I tried to do to move beyond Impressionism, was to investigate in a paradox. In this alteration of Impressionism led to a contradiction, like Malevich's White on White. That is, is contradictory to have a metaphysical concept and manifestations in a box. However, these contradictions gave me the clue to find a medium that was also a creator of ephemeral situations. And from that moment, all my work is based on creating situations to give the color ephemeral its true condition is unstable, changeable.

RMS. But why what line? Do you pay for these purposes?


CCD. The line is not an aesthetic element at all, is an element of efficiency. I created dots or circles because the line is essential and concise, only to highlight the metamorphosis, the transformation of color. If these were curved or zig zags, not add anything to the discourse
color, color in your situation mutant.
RMS. Then the art
Cruz Diez gives victory to Heraclitus who said that everything is moving.
CCD.
Everything is moving. Color is not static, it has movement. One of the things I structure my work is not to give significant. The forms are significant. For me the only thing significant is the dialectic established between the viewer and the work. When you look at those straight lines which have no significance, but are the most basic objects, this creates a situation. And this is the situation created by parallel lines which causes the multitude of feelings, perceptions and points of departure for myth-making because they are carriers
an event and are the linchpins of a myth. These objects serve as a kind of light trap to provoke other
notions about color and things.
To continue reading the full interview
click here.