If you go through Gran Via of
Granada and you possess some curiosity, you will discover
that at 33 something is being cooked underground. If you go into that doorway you will
find the Punto Rojo Art Gallery. With this
cold that threatens us the visit almost becomes mandatory and
you will enjoy the works of some of the latest contemporary
artists. You will behold the Granadian bustle from
a rather than comfortable position. Today we talk with Clara Lorca,
an artist who has exhibited at the gallery and has agreed to collaborate
with Amalgamartes. Angela Hinojosa, thank you very
much for making this interview possible:
Who is Clara Lorca?
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| Clara Lorca with two of her works |
Who is Clara Lorca?
I am not a great artist yet. I
graduated three years ago. Then the master
and everything has been rather a little self
taught. The degree does not teach you to solve your
own problems. I think an artist's career lasts a
lifetime, and I think I'm starting.
Your CV is impressive. We could say
that you have not stopped since you started your Degree of Fine
Arts. You traveled throughout Spain and abroad for
seminars, scholarships and exhibitions such as
the III International Congress of Synesthesia. I
guess you'd consider essential leaving hometown to
become known. Wouldn’t you?
The Congress of synesthesia was in
2009. I was trying the subject
of music, represented through
memories where music appeared to me through colors,
rhythms, masses, densities and I became interested in this
psychological phenomenon, this interaction among senses. I began
researching and met Maria Jose de Cordoba who is responsible
for conducting congresses of synesthesia. People
study synaesthesia to many levels, artistic, scientific,
is an incredible capacity. Getting around
is essential, difficult, because the displacement isphysically
and emotionally, to discover how is the market elsewhere, the
language. Leaving Granada you can see a change in the art
world, so imagine abroad. Some are
very conceptual, other very traditional and you have to
find your place. The artists have to make ourselves known.
What is Stardust?
It is a series arising from a development of my evolution. I have reached this point trying to find answers to the meaning of life. I know it's impossible, but I always wonder that question. I always touch existential themes and in these paintings I relate the microscopic to the macroscopic, I see many connections between both and I think that everything has to be about something. I do not know if God exists, but it must be a reason. I will not find out but I want that chance in my works, that chemistry, that physical, interacting in my work. I search to generate a cosmos in my own work. Like a creator god and the picture is a paradise that I have created.
It is a series arising from a development of my evolution. I have reached this point trying to find answers to the meaning of life. I know it's impossible, but I always wonder that question. I always touch existential themes and in these paintings I relate the microscopic to the macroscopic, I see many connections between both and I think that everything has to be about something. I do not know if God exists, but it must be a reason. I will not find out but I want that chance in my works, that chemistry, that physical, interacting in my work. I search to generate a cosmos in my own work. Like a creator god and the picture is a paradise that I have created.
Focusing on the support of your works,
how a work is done on methacrylate?
During the degree I was taught to paint on canvas, wood, oil, acrylic, but I wasn't taught other support. This goes beyond academics. I wanted the own material to help me get my work. I started working with ethyl, methacrylate, because of the transparency they have. So nobody taught me this technique. Back to being self-taught, including the issue of picture framing, so in my own work there is also a personal investigation. No specific technique, I know how I have done it, but it would be difficult to explain. I paint on one face of the methacrylate, beginning with details and ending with wider layers. When you flip the painting everything seems embedded in the methacrylate giving that crystalline appearance. The technique constantly change, experiment, discover the possibilities of the material.
"Granada Hoy" calls your work as
"chromatic expressionism". What about this definition?
During the degree I was taught to paint on canvas, wood, oil, acrylic, but I wasn't taught other support. This goes beyond academics. I wanted the own material to help me get my work. I started working with ethyl, methacrylate, because of the transparency they have. So nobody taught me this technique. Back to being self-taught, including the issue of picture framing, so in my own work there is also a personal investigation. No specific technique, I know how I have done it, but it would be difficult to explain. I paint on one face of the methacrylate, beginning with details and ending with wider layers. When you flip the painting everything seems embedded in the methacrylate giving that crystalline appearance. The technique constantly change, experiment, discover the possibilities of the material.
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| Interstellar Cloud I, Mixed on methacrylate, 25 x 35 cm. |
Journalists sometimes make a peculiar interpretation. Although on this occasion I do agree. I am identified with the expressionist movement, my work is pure expression, is what I feel. Yes, I work with both. All pictures are based on the color and the contrast of those forms. No drawing, no chiaroscuro. I respect the opinion of every journalist.
What is the role of random, game, on
conceiving your artworks?
Some people believe that by chance can not be done a good picture. I disagree. Apart from the hand, the concept is very important, the reason. Not everything is technique and drawing, thanks to chance, I discovered things would not have done with a brush. Randomness allows that some chemicals are mixed together leading to forms that exist in nature by the same chemistry. There are impossible results only having hand. In a certain way I control that randomness, otherwise it would be a sea ofnonsense. Chance gives that touch of magic.
Some people believe that by chance can not be done a good picture. I disagree. Apart from the hand, the concept is very important, the reason. Not everything is technique and drawing, thanks to chance, I discovered things would not have done with a brush. Randomness allows that some chemicals are mixed together leading to forms that exist in nature by the same chemistry. There are impossible results only having hand. In a certain way I control that randomness, otherwise it would be a sea ofnonsense. Chance gives that touch of magic.
Kandinsky used to make distinction
between Improvisations and Compositions . The
first consisted of "an abstraction of the
spirit" quick and momentary. The
second, "abstractions of the spirit"
slow, thoughtful, unhurried. What side would you join to?
I think it's improvisation. There is always a composing intention, calculated and apprehended. But I always work from a pure improvisation. The very act of painting is an improvisation, not quite knowing what I do, my body expresses itself, so would be rather improvisations.
In your series Stardust there is a very interesting component, the inclusion of phosphorescent elements which allow us to discover a different event when you turn the light off and contemplate the works in the dark. You have gone beyond plein air, you pick two moments in the same image. What is the origin of this element?
I think it's improvisation. There is always a composing intention, calculated and apprehended. But I always work from a pure improvisation. The very act of painting is an improvisation, not quite knowing what I do, my body expresses itself, so would be rather improvisations.
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| Hundred thousand light years, mixed on methacrylate, 125x185 cm. |
In your series Stardust there is a very interesting component, the inclusion of phosphorescent elements which allow us to discover a different event when you turn the light off and contemplate the works in the dark. You have gone beyond plein air, you pick two moments in the same image. What is the origin of this element?
It is a discovery, a surprise. I myself do not know sometimes the materials I work with, so it's also a surprise for me. Everything is new, an illusion, I give another perspective to the viewer. As children we have the stars glued to the ceiling, something magical, without energy, without recharging, simply shine. Investigating, I discovered how to use it and how to incorporate it. In the works there are phosphorescent paint and phosphorescent pigment, each works differently. On turning the lights off you get surprised. The works I do are in the first place for me and so I look for things that excite me and thereby I incorporated this element.
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| Stardust, Mixed on Methacrylate (normal sight, darkvision) |
The Cosmos, galaxies and nebulae, black holes. It is impossible to think of some of your artworks as interstellar photos from any telescope suspended in space. Hyperrealism or abstraction??
Both. It is curious, I broke away from realism many years ago, although I think that I remain realizing landscape. Almost everything is landscape. Abstraction is difficult. Here I was so abstract that it ends up as hyperrealism. I consider myself abstract, but when you approach to it you nearly perceive the microscopic world. What's more realistic than chemistry? I lead what nature creates.
Gombrich was worried about the tension
between abstract art and decoration. He
used to exemplify it by "This would be a
perfect design for my curtain." But you do not
create designs, you create High Art . If
you hear a similar comment about your work, what would
you think?
It's a complicated question. Me and
my mates always run away
from decorativism, design, saying "my work is
not decorative." We criticize these works, are
commercial. I've always tried detach myself, but the line is
very thin. When I paint I try to forget what people might think. In
some sectors Pollock was misunderstood and today it
has become a brand. You can see T-shirts where his works have
become designs. With this exhibition I'm happy because I've
done what I like.
The exhibition is about to end, could
I ask what happen to the works that are not sold?
Pictures that are not sold return to the garage of your house, to the studio you have rented. Some will be re-exposed, some not. My studio is open, if anyone wants to visit it if you are interested, but of course it is face-to-face.
Pictures that are not sold return to the garage of your house, to the studio you have rented. Some will be re-exposed, some not. My studio is open, if anyone wants to visit it if you are interested, but of course it is face-to-face.
Finally I would like to know how you see
the art scene in your hometown, Granada.
In terms of contemporary art is a bit poor. We need more galleries like this, that do not focus on commercial art, the easy way out. We need more activities and museums, but there is something. The problem is that the galleries are betting on the safe value, consecrated people and should bet a little more for emerging artists who are the future, as many of my colleagues, and we have it very tough because of the economy and so on. Good city galleries are already booked. And not for young artists.
Interview made on 29th of November, 2013
In terms of contemporary art is a bit poor. We need more galleries like this, that do not focus on commercial art, the easy way out. We need more activities and museums, but there is something. The problem is that the galleries are betting on the safe value, consecrated people and should bet a little more for emerging artists who are the future, as many of my colleagues, and we have it very tough because of the economy and so on. Good city galleries are already booked. And not for young artists.
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| Clara Lorca with some works |
To know more about Clara Lorca: http://www.claralorca.com
To know more about Galería Punto Rojo: http://www.galeriapuntorojo.com
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