The passage of time is also important in your work?
DG: Yes, the file focuses on the time that is past and present, it's a cliché, but the continuing work beyond the moment of the exhibit. And if we think of a show that new technologies can be introduced to the media, all stems from there, at the bottom is says that, it is never what was done, is never what the artist felt, but I do not know if artists feel. This is a romantic nostalgia, I'm not inspired, there is work and therefore there will always be that judgment, time makes you forget, we are here passing thru.
The life and death which is another of your themes. But stilts where? In fine line that separates them? Or more once you walk through this dialectic?
DG: Maybe I'm not the best person to talk about me. But, I can address the context, I'm a Catholic, I have this designation-practicing or non-practicing, because I am it entirely if you wish a militant Catholic. All data that appears comes from ethnographic visual culture, perhaps if it were not Catholic, not presentasse this topic. Are not concepts, appropriating images holistically and just now spoke with a friend who knows me and Diogo said you changed? If we think we always use images that are not angels, are representations that associate with these heavenly beings and as we enter a store there are thousands of possible reproductions, is the Catholic saint, or the Buddha. In Brazil is taken to the extreme, because there are arixas , African totems and all on the same shelf, all the same, think about what interests me as an object, as image only. When I make a value judgment on a sacred image that is inside of a church and an altar I worship, the exhibition is the only consecration art and speak only in the field of images. It is indifferent to me the title virgin girls, children in this case my family has this respect. Another issue is that the virgin never associated to the man and make a difference, perchance all the saints will have the virtue of virginity, some do not, it will be chastity, but you never speak of the virgin. It is always a reference to the figure of the woman is a really Anthropology deconstructed by Freud and when study African clans are made, this is what happens in initiation rituals. On display this time is the first communion is the first time, do not re-use the white dress, unless for the wedding, I speak of the case of the woman. The dress is like the subject, the ceremonial costume.
But when they saw the pieces of art what they told you?
DG: Who sees my work knows that I try to investigate before leaving for a new one, to realize a concept. Only things do not have to justify itself. I started painting donkeys by coincidence, I painted one that was exposed in a gallery, they asked me for another and I realized that I was entering a market and without quite understanding why. At the bottom I stopped and went to investigate and now gives rise to an argument and began to see the amount of information that exists, Portuguese authors who make mention of the donkey, immediately Fernando Pessoa, "I wish I was there as the miller donkey, he hits me and sherish me "from José Saramago " at the memorial of the convent " or " want to lift off the ground" he is more sarcastic. It is curious that regardless of ideology, has to do with the baroque narrative of many adjectives that qualify the animal, he speaks of a lazarent mule.
So as if being viewed through the set of a work?
DG: I think they responded well, almost all laughed. Other they prior knowledge, so there are no problems I written with warmth and friendship.
Addressing the value judgments when someone looks at your work and the censorship still snag it as art?
DG: I'm not the one they have to see. I do not like the term art. The word has to do with my training, if you want religious art means fireworks and decompose the word love appears Amortis, ie away from death, I speak from the standpoint of technology, the artifice does not preclude me from death, the background art is not death, it's a fake, probably all this is not worth anything. The artist, I do not like this term, I prefer author, because it means that it adds to creation. I'm talking about God is not easy to believe, but to give the benefit of doubt think that it is harder and then put a denomination to ourselves, where there is a creation and a creator cannot have the same name, if we are authors and the problem of the artwork is that it does not have added nothing, worth nothing. The judgments there will always be, I notice that there is successive exhibitions is what I want, good or bad, this is my path. The art space is the museum, the gallery, who gives benefit of doubt expect to see something we call art.
Even when there is confrontation?
DG: Yes, because they will always judge. When I had my first exhibition, the gallerist told me: we do not expose communes, or atheists. At first glance it seemed something else, because I go to Mass and I am Catholic. After we passed that stage and the person already knows about the person and we can now move forward on the project. When you look at it, says the need to take some care, we are playing the same game, he notices my work, how it works in the background and make concessions to each other. He will not go after a message that is contrary to my. The gallerist is seen as the capital and the authority, to me interests me the confrontation. It is a necessary feature. Maybe not on purpose, but is assumed.
