Más que tender vueltas: Diálogo con Alexey Golovin

Con: Guillermo Cóbena

 

Tragedias, por lo general. El contento es más bien una promesa; nos separa de ella la acción que compromete el fuego de la pasión. Las voluntades, entonces, se tuercen expuestas a las circunstancias y cuanto tenemos de maleable chirría con la esperanza de que luego, por propia resiliencia, acaso, tenga lugar el disfrute.
Vieja imagen de triunfo. Vigente, al caso, destacando entre las sombras de una palidez uniforme.
Alexey Golovin tiende la mano, ceño fruncido en permanente evaluación.


Me importa, ante todo, la belleza.

Puede uno escoger un tema horrible, una tragedia, pero debes tratar de pintar un cuadro bello y expresivo desde el punto de vista plástico. Se trata en efecto de un asunto difícil, un verdadero problema. Pero entre más difícil es un problema, más interesante se hace su resolución. La tensión se transmite al propio tema. De este mismo, luego, tiende a salir.

 

Mi fuente constante de inspiración es la mitología griega. Esta ofrece un sinnúmero de temas para todo artista…

 
Cierto. De otro extremo, los héroes del olvido, los más recientes –lo mismo que los esperados bárbaros–, han cedido al desdén creciente por las causas complejas, cuyo sentido tocaba antes, directamente, lo más vivo de uno. Lejos de absurdos absolutistas y regímenes pretenciosos de virtud, bajo hurras a lo viril y lo gallardo, resaltado en medallitas, lejos de toda esa parafernalia patética, apostábase por valores de enunciación sencilla y una mayor sensibilidad, con el peso mismo de la responsabilidad que todo ello trae consigo. Por principal ejemplo, la libertad, la tolerancia en la diversidad y la capacidad de adaptación para la vida en comunidad.
De modo que recientemente abundan los torpes, los conflictuados y los simples necesitados de cariño en lugar de quienes pretendían imponer un orden, desdeñando por principio la buena fe individual, los grandes malos. A los que enfrentan adolescentes (sin importar su edad), que más bien resuelven sus entuertos afectivos para, como efecto casi colateral, contribuir con el resto, el enorme resto de los buenos y sosos, todos cantando a coro que son únicos y especiales, a absoluta la armonía, a la ausencia de conflictos: una rotunda irrealidad.

 
 

De ahí el valor de determinadas figuras. Abundan en la historia del arte, trabajos sobre temas relacionados con mitos y leyendas. Artistas de diferentes países y épocas han tocado estos temas en sus trabajos creativos.
Admiro las obras de los antiguos maestros. Contienen todo lo que a mí me gusta en pintura y eso me estimula a crear.
Su vigencia radica en su perfección, pero también en la inspiración que brindan.

 

Cien veces, lo importante de volver a los clásicos. Conviene repetirlo siempre que, como es el caso, resulte necesario.
Curiosamente se trata de un legado de cuestionamiento permanente.
La vigencia del arte depende de la penetración de las interrogantes que propone. 
Vemos, por el contrario, volviendo un instante más a los nuevos héroes, que apenas y cuestionan, con la afirmación de su voluntad, los principios que más los comprometen, pero mucho menos aún los de su comunidad y ni qué decir de los de la época. Como si todo fuera ya perfecto.

 

 

A la hora de elegir un tema clásico para un cuadro, trato de hacer una interpretación nueva, moderna. Actualizo la cuestión… Paralelamente, preservo ciertas formas y técnicas tradicionales.
Tan pronto como aparece una idea para un cuadro, empieza la búsqueda para una nueva composición.
Es importante tomar en cuenta el tamaño de la pintura y hallar la solución plástica más expresiva para ella. Solo cuando he comprendido cuál es esta solución empiezo a pintar. A veces la idea para un cuadro viene rápido, otras veces no. Pero para mí la búsqueda creativa es una cosa interesa y excitante. Siempre, un desafío.

 

La solución más expresiva… La forma que mejor se ajusta en cada caso a la comunicación plena del sentido de la obra. Esta condicionará, incluso, llegado el caso, el propio contenido objetivo: los elementos de la composición, los hechos relatados, los signos referentes…
Requiere talento, trabajo y algo de fortuna, como diría Naipaul.
Con la reciente ola de autoficción literaria provocada por Knausgard, por ejemplo, está claro que es más fácil, simplemente, hacerse el asombrado –pasando más bien por idiota, que asombrar desde la auténtica interpretación e intervención en la realidad; es más fácil evitar el filtro, dejando que lo nimio y banal pase como parte del plato frío en descripciones desprolijas, que cuestionar a través del criterio con que se discierne y fragua, por tanto, la realidad propuesta.
El oficio, así, pierde brillo. El pulso propio y luego la exigencia del medio se debilitan.

 

Un asunto de fidelidad…
No empleo telas confeccionadas en fábricas, disponibles en el comercio, para mis cuadros. Escojo un paño de lino y lo preparo yo mismo. Toma algo más de tiempo, pero solo de esta manera tengo una completa seguridad sobre mi pintura.
Esto tanto para mis cuadros figurativos, como para una naturaleza muerta, un retrato, un paisaje. Entre lo demás que hago…

 

 

Es que pienso que resulta aburrido encerrarse uno en un solo género. Cuando trabajo en un cuadro, no me apuro, disfruto el trabajo. Cuando uno hace lo que quiere, se siente gozo como consecuencia de la actividad creativa.

  

 

El desafío en el propio desafiar. Sin cambiar de formas por el mero hecho de hacerlo, si no porque una nueva forma de plantear las cosas así lo requiere. De modo que, como bien has dicho, se nos plantea nuevamente un problema.

 
Fui muy feliz aprendiendo de muchos maravillosos artistas rusos. Siempre recuerdo a mis maestros con gratitud. Considero a mi padre mi principal maestro, gracias a él he escogido el camino de ser un artista.

Ser en el obrar…





(Traducción, por Roberto Zeballos Rebaza)



 

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