A Look at the Portuguese World

 

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Crossings

Written by  yvette vieira fts jose zyberchema

  

Sonia Santos is an artist who explores moments of confrontation and acceptance to the exterior, with herself, her work and the relationship between painting and drawing, a close relationship between the procedures and the intrinsic formulation each of these production areas.

This exhibition shows three steps of your artistic journey can you explain them ?
Sonia Santos : I have more steps, one day someone asked me what is your style? I do not have styles. Me, my day to day life, people, news, nature, in short everything that surrounds me in my everyday life. So I chose these three steps, they were three separate rooms , but all in the same space . These works have to do with mechanized architecture in this first phase, the other has to do with the stain, the color, with the stamps you are bombarded with every day. The third step is the woman, is the most obvious, is figurative painting, is the input, output, land. Are only three, because bringing the entire collection was impossible.

The range of colors is different. Does it has an affect ?
SS : Yes , the color is my basic communication.

How do you start a work, you think first in color, or have an idea for the painting and the tones appear later?
SS : I cannot explain the process. I have a studio with my materials, I like to work , in oil pastel , dry , graphite, filters pen and acrylic, I have everything on display. When I go to work for that space I have a need to clean, is like going to the washing machine, you take your clothes because it is dirty, you put in the machine, is there for a period and comes out , is still your clothes, but smells good, is clean , is what I feel when I go to the studio, I don't think of a line, or certain color, I sit , breathe and let it out. It is different from an order, then I have to put me a little aside and concentrate on the material chosen, is one more step. But it's all interconnected , when I sit all emerges naturally. What I want is my freedom.

It also applies in color. I notice that in abstractions shades are very strong , dark , but as opposed to figurative paintings are laden with yellow .
SS : Yellow is the sun 's energy, hot and I 'm a lizard . ( laughs )

You also use various paper types. Are different media.
SS : Some are paper scenario, because it was what I had . Unfortunately the materials are very expensive, I like to work on canvas, but I love paper. I did extensive research on this subject , I studied all the papers you can imagine , I developed this research to know what kind of could stand with my gesture, with my strength . The scenario is paper they say is poor but stands me perfectly, so I had to go out. It was what I had on hand , bought ten meters, one euro each, a roll of canvas as opposed is 130 euros , but it si peacefull, I do not care if it's a poor or rich material, it does not matter, what matters is that feels good and I have material that has to be able to pass on what I'm feeling. The figurative works were made with rice paper, is expensive, that collection was made in Germany , when I was with artist Peter Fricke who had an hour a day to work with me and he is very given, so he offered me this paper. Yellow was my quest for sun in Portugal , is also a woman , you come and you go, but always thou, thou be thin or fat , high or low, you are energy.

And these little notes?
SS : It's trash. I had a gentleman who owned a house frames that did passe-partout and the remains are sent to trash , I use them, because it 's a tough material and stands with me.

Why you have done this research about paper?
SS : Because paper is natural, it is of the earth, come from the tree, is part of the seed. It's all interconnected . The canvas is also good but has limitations when these painting there is a gap , because the screen has a base that is 4 cm grid and you fall if you continue. I do not panicking, but I come into conflict with this fall. The paper is not natural, has no limits.

Then have an intrinsic need for a continuous movement ?
SS : Yes, that inch is a gap , the hand falls and you fall, it's horrible . I fall often and I get up . But my hand is prevented , there is a mandatory cut, then in college I did research and this was very important, because I discovered many things.

If you do not have a marked style, then how do you define yourself as an artist ?
SS : Someone told me it was contemporary art.

And you feel you inserted in this area?
SS : I think so , because I'm not impressionistic, or hyper - realistic or abstract , I think the reality is enough for me to show, I cannot paint a real tree , because I not see it so, then I'll paint it as she talks to me. Not long ago I learned that Paula Rego was scolded by the schoolteacher when she painted a cup of another color, ecause it was not the standard color , then why? Because we all have to match? And that happens in my painting, my sculpture. I have to do what I am feeling at least that. ( laughs )

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