So what led you to start the creative process?
NC: I do not know. My life is too complicated, I'm a very busy person, I teach and I have no time to think. Everything was in an archive, but I did not know when I would use it. Revolts are there, you can also store them in a drawer. Only one day you decide to use one of them and change the world. Of course, not quite, but came at a time when I had more time and was an issue that bothered me. Quantitatively it took me six months to get everything done, bearing in mind that this is the results of my spare time, gave me a great pleasure to take these images and work them. In short, I started working on the images capture of fires through the phone, I made a video about it, then wrote a text that contextualize my inner revolt, my goals, my own techniques and context for the exhibition, born after the session video with the human body that directs to my cry out. I wanted to warn thru the woman the processes that were taking place, I fantasize about that aspect and add certain eroticism, the sins of society and represent them in the paintings, but always with a glimmer of hope, is a wake-up call for people to the mistakes that are committing. My sixteen paintings arise the element of fire that is always present. This exhibition arises from the fires of 2010, in 2011 begins the process of roaming, we arrived in 2012 and unfortunately the issue is more topical than ever, because in the day of the presentation at the Civic Center of Estreito de Camara de Lobos, was simultaneously undergoing a fire on the slopes of that locality. It was an inconsistency. I was inaugurating a show with great pleasure and enjoyment while everything was burning, once again, we were facing the oversights in our society and this year was even worse in terms of fires.
Before you said that you intended for this exhibition, something different, not video art. You think you explored have everything you could in this artistic movement?
NC: It's not about exploring everything, every time I make art video learn about myself, I like to make them when there are not advertisers, really, like everything in life, we get tire of working with the same matter. I wanted me to embark on another material and that was it, I knew I was able to advance to initiate a study and a personal experience. Interestingly, the essence of the exhibition is the bitmap manipulation, but even so there is an animation which appears in the darkness, in the midst of smoke, due to the concept that I wanted the show to print on. I created a small segment where came a voice to recite my text, in parallel, a dancer with her body language stroked people, bother them, required space, then touched the wall and appeared a work bathed in light, the biggest of all, of 3x2 meters, the 16th, is mounted in 3D and shows up at the end when the curtain falls. I did this because I wanted to personalize my intervention.
It's your form of language, a multidisciplinary view.
NC: Yes, it is my form of expression. I do this in several ways. Everything was hard to idealize because we needed a rigorous schedule. The order in which the paintings were lit had a cadence, a specific focus, it was not easy and it could not fail. All had merit, but the firm I worked understood and embodied my vision perfectly.
The public got the message at the end?
NC: In a way the main message passed. People realized that is all our fault, we have to do more, then of course they assume the other side, criticize what they see, try to understand the other facet of the message that was why I follow the digital painting, whether they like it or not, what represented some abstract paintings, although being aware of the feminine element, turn out to be susceptible to different readings. At the end they were happy because there was a whole a scenario where you showed each painting at a time and I'll be honest, I think people understood. Now, if changed attitude, I suspect not, people are still distracted, I'm not saying that my guests were guilty, but the unfortunate reality is that fires will continue to happen. Society only reacts when misfortune strikes and I'm sadly because I think we can learn by watching, but there are people who think not.
Let's change the subject. You have the habit of organizing cultural evenings recently have you been involved in an event in which several artists created simultaneously. Why feel the need?
NC: First, I love all the arts. I've always been fond when traveling of the different forms of expression. This is the starting point. Also I 'm close to several people connected to the arts. Thirdly, I was always very apologists that people could watch on the spot the creative process, an opening for this kind of information and although I understand that every artist needs its moment of intimacy to produce art, being surrounded by some privacy, I also think that is a fantastic experience that this comfort zone in open. I think that is salutary that artists who so wish so, manifest in that noise, that involves people passing thru and music. It is also important to show national talent, many of these young artists need this kind of exposure; they make the rich event, with this color and diversity.
You need this type of events to raise public awareness to the art?
NC: Also. No doubt it is necessary to value it, but how can you do it if people do not see it? Often such discussions arise between friends, to what extent art is made for a particular individual? In this way we contribute that a person can see it on the spot.
Some consider that this is not a cultural event, but entertainment.
NC: I respect anyone who thinks that way. But, it is a cultural event, if not, I ask, what is it? To assume the designation must be paid? The artists have to come from abroad? There must be a curriculum of a gallery? Why is not a cultural event if they all bring something new? What's more, they know how to expressed it. I've always had good feedback from the public. The art work have good quality, some more than others? Maybe, but this reading is also of interest. Come look, come judge. All events contribute to mobilize the art in Madeira, but there will always be people who criticize.