Interview: Eduardo Moreno
Luca Curci talks with Eduardo Moreno during Venice International Art Fair 2020 at THE ROOM Contemporary Art Space.
“Maybe the world changed me more than how I tried to change it… ecumenic failure.” E. M.
Since very short age, exposed with intensity to every form of art and diverse disciplines, dancer Eduardo Moreno rediscovers, after ten years as an expert on environment and social projects, abstraction as a new way to express artistically in all confirmed levels. Figurative plastic and pictorial art; of which I do not try or get to be except, is today easily drained in some form of vehicle to several stratums of communication. So be my proposal explain itself both towards the emotive and spiritual in the aesthetic and the technique, the transmisible, the transmitted and the definitively sealed on the other, sometimes even to the identification artist – artist or artist – spectator and, of course, artist – co owner.
Luca Curci – What are you currently working on?
Eduardo Moreno – I think right now I am getting very close to get a cohesive body of work. Since I started over a year ago, I have been trying several styles, but not all of them are becoming iconic. So I believe this will give me a stronger identity as an artist, but it is not easy, it has to remain honest. Ironically, I am coming back to basics, primary colors, geometrics. Also, as soon as the pandemics goes away, I’ll start with portrait and human figure in a way I think no one has ever proposed.
LC – What’s your background? What is the experience that has influenced your work the most?
EM – I learned a lot of arts and crafts in the 90s, when I was a privileged kid. I took art lessons and got into painting and some plastic art. Other than that, I am a self taught artist. I was awaked by a recognized Cuban collective stablished in Mexico: “Los Transferencistas”. Last year, they hired me as their PR and I assembled an exhibition for them at Cabos. But it did not stoped there. I got more involved day after day. So, once you feel it, there is no way back.
LC – Which is the role the artist plays in the society? And the contemporary art?
EM – The artist handles a rescue to himself but also to the others. I believe contemporary art, on the other side, going further that the role of art today, should take a so far neglected step back and become less an industry and more a movement.
LC – Are your artworks focused on a specific theme?
EM – At the begging, I got driven by two of my passions: music and dance; I started with gestural abstraction, also some action painting, semi asemic and automatic writing too. That showed me some themes that are related with my music taste and the meaning of that. After that, I got some divine manifestations. Then the theme of romantic love emerged briefly, focused on the figurative shape and the abstract concept of the heart. I canít really say what is next, but I see some patriotic clues, a concern about wars in postmodernism and, of course, from the very begging, the auto biographic strongly linked to my own state of mind and spirit.
LC – Did your style change over the years? In which way?
EM – I believe an artist can have more than one, maybe a few, styles. If the body of work is honest, it will instantly become understandable, logical and cohesive. In less than 18 months I have been experimenting with dozens of techniques… almost all materials and surfaces. I didnít get to mastered them all, of course. But I strongly feel that I am ready to swing among styles, maybe not in monthly basis like it has been happening so far, but in more longer periods.
LC – What is the message linked to the artwork you have shown in this exhibition? How is it connected to the theme of the entire festival?
EM – Nature and its death, the isolation of what we worship about the not human side of planet. I believe the VIAF helps a lot with the emerging need of the artist, but let be not forgotten that the artwork is finished when it goes to the co-owner (buyer). So, to emergence in the middle of the blindness of humanity towards the environment feels like the very rise of one as an artist.
LC – We were attracted by your last artistic production, has the artwork presented been created for the festival or as a part of preexisting works?
EM – It already existed and it is a unique piece, I do not have more about that theme or style and maybe there will be no more like it. In earlier plans, youíll sure remember some other options closer to the body of work thatís being built. I think that they should get to you very soon, one way or another.
LC – What do you think about ITSLIQUID Platform?
EM – I am in Mexico… so painting, like every form of art is a very difficult metier. Sometimes I fell like nobody here cares, nor even they get the importance of culture in general. It is, from the individual scope, exhausting. But one has to understand that the third world needs to solve many crisis that Europe and the US do not need to address anymore (apparently). So, there is no money, time or energy to, through art, fulfill the superior human need of empathy. This is an ecumenic mistake. The ITSLIQUID platform is, then, a great ally to us, but it is the team that gets the human connection we artists are in need for. Not to mention the public abroad that we get close to thanks to your fine resources.
LC – What do you think about the organization of our event?
EM – A very great experience! I think we should do it again!
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
EM – Absolutley, definitly. As a breakout artist, I have been interviewed and reviewed a little a lot, Iím not complaining, itís part of the game. But I really appreciate this opportunity to express so many things that needed to be said, beyond whatís already in my first book “Je suis ma route”. Thank you!