Interview: Sergio Patricio
Luca Curci talks with Sergio Patricio during VENICE INTERNATIONAL ART FAIR – 14TH EDITION, at Misericordia Archives.
Sergio Patricio is a time-based media artist (performance and video), art researcher and creative persona #pansexual. To talk about his art practice it becomes necessary to look at the fragile border between time/space and beholders; this is the spot where his particular artwork sets the goal to explore and create. The main questions of his art practice revolves around the concept of time – either as waste, useless device or activator of the here and now. These nuances are framed in a diversity of actions involved in the body-space-time network, attracting and affecting people’s genders and political perspectives.
Luca Curci – What is art for you?
Sergio Patrico – To me the notion of Art from a general perspective is the practice of engineering something that doesn’t exist yet, that will deliver a process or even an outcome (s) in a limited time with its own diplomacy into a specific social and cultural context. I understand art practice as my own process of choosing which media I apply in order to develop questions and observations about reality. Reality observations are not always understandable nowadays. Many times art approaches future ideas that science will discover later. I identify my art practice as a Time-based media where Time is the main link between collaborators, experiences, audience and events that involve my actions (performance) as a result. The result is a puzzle that the audience/ beholders/observers have to solve. There is no literal narrative, it is more related to abstract painted and sound landscapes presented in body actions in time space.
LC – What are you currently working on?
SP – I am currently developing projects in collaboration with other artists specifically with artists that work in raw materials like leather, glass, fibre among others and in combination. My personal aim is trying to shape-shift these materials into something that is not organic, like costumes made in Glass for example. Something that I have been insisting on in my live actions, is to develop each one as a singular experience specially designed for each event, exhibition or space where I perform. The particularity of my artwork insists on an attempt to stress the invaluable meaning of real encounters, rather than virtual interaction. Knowing that, the videos made for each artwork are my digital delivery to those who cannot see them in person.
LC – How is your creative process?
SP – In collaboration with another artist my creative process basically has three levels of work. The first level is spending real time connecting with an artist in order to understand how ideas go out in their own environment. So basically I try to spend a lot of time in daily live action (chilling, walking, eating with them) to catch some ideas. Second level is more into brainstorming ideas together, anticipating which labour each one has to do separately. Third level is mostly in regards to the production of sensemaking, related with resources and context where it would exhibit the outcomes, not only the live action but also all the possible results: process, photography, video and residuals materials.
LC – How is being an artist nowadays?
SP – It is a full time job in a way that you have to work twice as much as a normal job to get noticed in the context where you develop your practice. You have to be able to travel, speak more languages and have some social skills to present yourself in public. It is a job that is definitely going to pay your bills, if you insist and resist.
LC – How do you feel when you see your work completed?
SP – Honestly my work as a time-based media artist (performance, photography, video and video installations) will never be completed. The physical end is going to be the sumatory of all my artworks, with some being more accepted and successful than others. I see my practice as a projectile sent into the future. Basically all the processes of doing my art affect my future projects as well. It would be interesting to know how my art will end up.
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?
SP – “Polymorph shell” has a double strategy. On one hand there is the beautiful artwork made by Benjamin Podoba that we develop into possible parts of his body attached to mine as glass costumes, giving the graphic idea of fragmented sculptures, filters of social media and body parts art scabs. On the other hand, it is about how to put two bodies together crossing the line of the homoerotic, going deeper into the level of classical myth (giants, animal-man and minotaur, for example) as well in a methaphysic level, like possessing the body of the other person, the ghost, the shell, to wear the body of other person and some other ideas from occultism, for example.
LC – What do you think about the concept of this exhibition? How did it inspire you?
SP – We got inspired by the mysticism and also the isolation we found in the special context of Murano. This is where Benjamin works at the moment and where we spent a lot of time figuring out and putting all these ideas together. Also Venice has a maze of small streets with some references we used like Sebastian from the filmmaker Derek Jarman, for example. Thanks to the production team, this exhibition offered us a venue to showcase the outcomes of our art collaboration.
LC – Do you think IT’S LIQUID GROUP can represent an opportunity for artists?
SP – ItsLiquid Group has built a big platform for artists from various media. It has grown very fast since I met the team and Luca Curci in 2017.
LC – Did you enjoy cooperating with us?
SP – Yes, I really enjoyed the cooperation, especially getting in touch with the amazing team of strong women, congrats.
LC – Would you suggest a collaboration with us?
SP – I would love to collaborate with you especially about the one idea we have talked about with the curator, making together a new big event for performances that could build a strong network between practitioners of performance art and the multicultural industry of arts.
LC – What do you think about our services?
SP – I really appreciate the difference you make between performance and the other media. For me it makes a lot of sense in terms of resources, context and live action effect. I truly believe you could use someone like me to help you to curate performance for upcoming events and possible new developments.