With: Juan Pablo Torres Muñiz
Nimble, also in the realm of words, Linda sets the pace, leads us, now lightweight, from one side to the other of the room; the latter grows, then opens, and takes finally the form of a road: before us, while walking, a complex story of influences, with multiple senses: each image, a window, a new stream, but all of this, a part of the same fabric.
From constantly viewing art my perception of the world has changed. On the screen of my mind are simple pictures, truthful images of nature transformed into compositions of the heart. In English the word “art” is in “heart” and the heart is the source of my art…
And (in principle, so to say) its receptacle and the place where the artless life forges the incommunicable experience… It’s curious. The figure of speech you employ here serves also to advocate the eagerness of translating this experience itself, above all other purely esthetical purposes, this hoax of the art for art’s sake. Questioning surges from the communication of an authentic experience, true and fictional at the same time (due to the employ of a language)…
Some experience an altering of consciousness through ayahausca. My immersion in art has brought me glimpses of a dream reality. The ancient connection to the dream world inspired my earliest art. My journey is to stay longer in the dream reality. I hope my audience will linger in the dream long enough to ask me or themselves how does this makes me feel and why.
My photography and dance are both intuitive. I touch nature and nature touches my soul.
To sketch into time, to challenge the absence of a substance where the drawing would linger: directly, by means of wonder, involved with memory: elevating the conscience into a means and a key. Music. From there, and with it, dance. An expressive plenitude (disposed for communication, of course).
Movement, energy flow and fluidity brand my work in dance, photography, film-making and drawing. The movement, energy and fluidity are three dimensions of an ephemeral life force, generating creative ideas and emotional expressions.
Language, in this case a language of the body, can lead us, in accordance with a well defined vocation, to the deepest referring layers, but it will simultaneously (even with the simplest of figures) make itself a frontier, a limit.
With my photography and film what the images conceal is more important to me than what is revealed. What is concealed ignites the viewers’ imagination and emphasizes the subjective over the objective. In a solar eclipse the moon shields part of the sun from the viewers on earth. “Eclipse”, the title of one of my dance films, shows dancers juxtapose their bodies between the camera and the light source creating (metaphorically) an eclipse of the inner emotional self.
Light instead of voice, shadow as silence. And communication completes only with the receiver. (In the case of music this is almost literal). Talent and effort manifest themselves, above all, in the decision taken on what to say, offering sense, and what to silence, as a way of provoking in accordance to that sense. This is another kind of communication, inner, eloquent, but hiding its mechanisms while turning more emotive.
I also express emotions by the contrasting of light and dark and the manipulation of colour saturation.
Human vision evolved in concert with the cognitive pathways experienced as emotion. In the struggle for survival among the ancient species discerning threats among the foliage aided survival. The emotional power of the threats, as well as visual possibilities for contentment, shaped our potential to experience the emotional impact of art. Thus, the fundamentals of art, light/dark and colour are archetypal, basic to the human condition.
On the other hand, there’s a particular evolution, change, including sometimes half-returns and also pauses. Sometimes, the beginning of an ending. It’s something organic. And it depends on determination and perseverance, and on knowing how to accept things and to adjust.
Our brains, our minds, our cognitive structures evolve as we age. The evolution is physical – neural pathways take forks in the road. Each individual follows a unique road. My perception of time and space in both visual art and dance is visceral. In drawing I rarely measure limbs or facial features; I eyeball them. An intuitive fluidity guides my art. In dance my musicality is not measured by counts, but by a rhythm based on the beat of the heart.
There are wisdoms. And more…
(Translation by Roberto Zeballos Rebaza.)