Like salt, and its shadows: A dialogue with Red Tweny

With: Lena Marin

  

The line, the stroke point to the pulse, but sometimes they speak for it. Tension, in these cases, is present throughout the finished work (which becomes a portal), recreates the process of its inception in reverse and reveals a purpose. A course.
If we remember that not all purpose implies necessarily knowledge, but always the urge to provoke a reaction, to confront and, in the best of cases, to question, then we can make ourselves an idea about how to open our senses to this wordless message.
With Red Tweny we have the opportunity to talk about this peculiar form of eloquence.
 
 
 

I try to combine different needs in my work. I need to produce many subjects and have little time available: for years I “have to” produce at least one piece every week. Moreover, this technique helps me to be very efficient and produces results with great impact.
 
This rhythm, or rather its intensity, belongs to a bigger setting, to the world of today. Although, it’s through the artist that the said incommensurable world confronts us as much as nothing but his own world, and which one would hit us first!
 
 
Appropriation is as graceful as how much it distinguishes itself in ways as in results…
 
It seems to me a very modern style that sometimes meets the essence of modern communication tools; I also have to say that my pieces are immediately distinguished among others made with the same technique.
Finally, they are also very convenient to ship: they roll in a tube and are ready for shipment!
 
 
Front the island, they’d say, of your own interpretation: towards its destiny across the sea. I wish to make that clear: this island of yours is better understood as a kind of refracting station. With postal service.
 
The message inside them… I try to tell of the shabby daily lives instead, as opposed to, the higher needs of the human soul, almost always disappointed.
 
 
I am very influenced by the most negative sides of the microcosm in which I live: my work and my family. In this case, however, it would open a very personal and complex scenario… Another (…non official !!) source of inspiration is during the dull moments at the office and in the office-meeting that I use to scribble the drawing on my block-notes and that I will transpose in the evening into the 50x70cm format I always use.
 
 
It was said islands, they’re worlds, the spaces…
Someone said that psychoanalysis provoked that suddenly (some thirty years ago) thousands began to see themselves as the main characters of their own tragedy, with all humanity between eyes and nape, sometimes on the pillow… On the other hand, though, Tolsloy exhorted us to tell about our own village to become universal.
In every step there are echoes.
 
I was very influenced by Francis Bacon and only by him. But I always try to clear my mind whenever I start a new art and I try to be as more introspective as possible to tell my personal stories rather than thinking of Bacon’s or others’ works.
 
 
I remember that scene in Truffaut’s L’homme qui aimait les femmes, where the main character shuts himself in the bathroom in order to write a novel: suddenly images arrive very easily, or so he says more or less. A homage to Proust and his isolated apartment.
Forms of silence, and of void, too. For the own light. Attention must be completely in the object that posed the question.
 
Producing every week a different art possibly more and more well done…
 
In your case, literally, with your own hands…
 
I do not use digital art. Sometimes I was inspired from some details of real-life photographs. I use digital technology only to manage the photos of my art to correct contrast and lights. I also have a “certain” age and am not very practical of these technologies…

 

 
 
That which you offer, a thousand more times, your very own. With the ink, the breath…
 
 
Your work invites to silence.
 
All my drawings are part of my very personal stories and world. I ask nothing to them because I know them very well. For the same reason I would not like that somebody asked me too much about them because they are very personal stories and I do not like telling about them.
 
 
In the end, these are also very trivial stories that belong to all of us, unhappy and “fat” human beings of this century.
 
… Due to candies.
But we have also a kind of bitterness. And the salt of the earth…
 
 
(Translation by: Roberto Zeballos Rebaza)
 
 

 

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