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Statement


As an architect in France, I had the sensation of working only with my brain, with a lot of knowledge of course, but very little with my heart! So many well-rooted traditions and endless rules were distorting what I knew, in my most intimate convictions, was the best. When I came to Guatemala in 1985 I had a revelation, thanks to the Indigenous people: here they were, the poor and damned of the earth, but their life is a continuous work of art, an offering to make the most beautiful of what is around: art is woven in everything they do, from their daily wear to the chili-braid, from the way they sow their fields to the dances and the fiestas they put out all year long. Art for the indigenous people of this country, and probably for all of them everywhere, is not yet a commodity; it still illuminates the life of his creator in everyday life. And then, so much ingeniousness to accomplish this! Only colorful thread to weave, machetes to sculpt, antique symbols and sad events to tell… and also, a lot of time — precious commodity that turns elastic in the tropics.

         This encounter has been a revelation: I also could start creating, with all that I possessed: my agile hands, the movements of my anxious body, the words that come to me at night, or whatever material that nature has to offer, as well as what distracted people leave around. Finally, I could tell it all: my thirst for the delicate, in such a hard and brutal world; the thing is, delicate gestures and thoughts are the seal of a considerate and civilized mind, they transcend our primary state, they make us more human… I could start telling the ambivalence of good and bad, the importance of celebrating love, my rage and impotency in front of the way we treat our planet and all living thngs, and also my joy when just causes prevail.

During the year 2000, I felt a compulsive need to work with nothingness. I started, and soon realized I was advancing in the solving of my particular ecological worries as an artist: How to produce less matter, less objects, considering we already are asphyxiated by the endless boa of material production? … This is why my work became more conceptual and interactive. Beginning with “Air, Please!”, “3 Minutes of Silence”, “Oblivion”, going on with “Where is Our Soul?” or “Moral Achievements During the past Millennium”, using minimal matter, I construct fertile dialogs with the public. This is really why I also started to work in video, as a way to sculpt movement and time, without having to  manage much matter.

But since 2011, I have been mostly working on comforting, a real necessity in today’s world circumstances, so I have been sculpting soapstone objects to hold and caress, am working on a joyful flag installation...

     

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