Interview: Ariel Palanzone
Luca Curci talks with Ariel Palanzone during SUPERNATURAL, held in London, at THE LINE Contemporary Art Space.
“My style is eclectic and experimental. I am curious and I am constantly changing. My works range from digital images, collages, and sculptures to objects and furniture. I think that this heterogeneity gives consistency and identity to my work. I look for my images to have a soul, to be inspiring, reflective, with open messages and to make me and the viewer question myself. Many times in my work the organic combined with the geometric is present, generating a contrast of opposites that combine and complement each other like the counterpoints in music. My images flow between materialities with a call to the tactile. The movement is in the passage between thresholds: not only material and spatial but also perceptual and corporeal. My homage to the absence of vertices is a deployment strategy”.
Luca Curci – According to you, what makes a good photo? Which details do you focus on?
Ariel Palanzone – I think that in order to generate an impacting image, the first thing that must be present is the artist’s intentionality, that which the image has to say and which reveals the artist’s subjective gaze. A good photograph should arouse curiosity in the viewer and give clues for the observer to build his particular meaning.
LC – When did you realize that photography could also be a life lens?
AP – Since I was very young I was curious about the world of photography and I was struck by how a photograph can awaken different sensations in each person who observes it. Photography is a way of looking at the world and seeing the extraordinary in things we believe to be ordinary. A good image can pierce us like a lightning bolt into our most intimate sensations and make us discover sensations and thoughts that we did not know we had inside.
LC – Among the several techniques you use, which one do you prefer to practice and which of them are most compelling for you?
AP – The technique that I use most often is 3d rendering because I can build scenes and installations that in real life would need a lot of infrastructure to carry them out. The 3d software allows me to take photographic decisions such as the type of lens I will use, the type of lighting, the exposure and position of the camera, etc.. These factors bring more sense to the message I want to communicate.
LC – Is there an unrealised or unrealisable project, even a crazy one, that you would like to work on?
AP – I have a lot of those in fact, haha! But I hope to do them little by little this year. For example, I am coordinating with an art gallery in Buenos Aires the materialization of some of the installations that appear in my images and exhibit them in this art gallery. I am also participating in a collaborative project with designers from Canada to materialize some of my designs of furniture and objects for the home that have a strong artistic imprint.
LC – How is being an artist nowadays?
AP – It is really difficult since there are not many governmental programs that support artists and recognize the cultural contribution they give to culture. Especially in Latin American countries where we are always going through economic crises, the role of art is relegated to a second or third plane.
LC – What is the message linked to the artwork you have shown in this event? How is it connected to the theme of the entire exhibition?
AP – With this work, I intend to leave a message open enough for the viewer to construct his or her own meaning. This work, in spite of being abstract, has to do with the general theme of the exhibition because in a certain way, it evokes the “Supernatural”, that which is beyond what we perceive in the physical plane, reminding us of the mystery of the unknown and the divine creation.
LC – Can you explain something about the artworks you have in our exhibition?
AP – This work is entitled “the wound of Time” and belongs to a series of abstract sculptures entitled “Volumes” in which I play with organic and minimalist forms that have cuts through which a white light emerges. In this image, there are crossings between art and philosophy because it implies the idea of man’s freedom and his relationship with creation. The light emanating from these wounds represents the energy, the matter of which all things in the universe are composed. It can also represent what springs from within us, whether it is an idea or the birth of a new being. This sculpture can also be interpreted as a mystical eye that makes us discover other dimensions and perspectives of reality, emphasizing the fundamental function of introspection, to meet our inner self and thus evolve as human beings. The contrast between the white of the light and the black of the sculpture further enhances this idea and gives it a greater degree of dramatism, stripping it of any superficial and unnecessary stylistic resource. In short, with this work, I try to capture a sensitive and poetic vision of how art contributes to leaving the dark and go towards illumination to improve us as human beings.
LC – Did you enjoy cooperating with us?
AP – Definitely, and I really appreciate the value you place on emerging artists who want to make a name for themselves in the contemporary art world.
LC – Would you suggest a collaboration with us? What do you think about our services?
AP – I absolutely recommend artists to collaborate with Itsliquid since they are a team of very professional and trained people when it comes to the world of artistic exhibitions.
LC – What is your idea about ITSLIQUID GROUP?
AP – I think they do a great job of curating and disseminating the works of emerging artists who would find it very difficult to exhibit their artwork on their own in the big cities of the world.