In which way does the creative process originate inside you? Are
there differences when you write a poem or you paint a canvass?
Do you think to express better what you want to transfer with one
of the two artistic doctrines or do you feel in the same way with
The creative process born from a depth of
vacuum, of silence, of liberty, of spontaneity and community with
a greater reality. Those are the characteristics of a meditation
or receptivity state, also when it doesn’t happen in a conscious
way. Besides, it’s not so important if on the surface of this
ocean there is a struggle between colours masses or words that advance
as armies in opposite harmonies, in reality all come from that depth.
It’s almost as, temporarily, the ego limitation overflows
In that alchemic space the individual material transforms itself
in something greater, that becomes universal and coming from this
transmutation the material can, finally, be useful for the others.
The others participate completing it, modifying it or aggregating
No, there is no difference between writing poetry or painting, drawing
or engraving, sculpturing or writing a novel in the way the works
born or announce themselves.
Differences and likenesses during creative work come from later,
obviously, from technical characteristics that belong to each art,
also from the size, the materials, the time dedicated to them.
At first sight it could be said that it can be possible to transmit
in another way through the word, that the word hits with a more
precise light and, in the same time, it’s more exposed to
deviate itself toward mind trap.
But this is due to personal uses and routes, not from the word itself
or to the image in itself, the purpose is the same for the poet
and for the artist: restoring inaccessible meanings, going beyond
each one own limits, incorporating distant or apparently opponents
to Gladys Sica "Poetry
and art, the same passion, the same fire" by
Luis Raul Calvo published on argentine magazine "Generación
abierta" n° 49 (2007)
come from the acid sourness of red, yellow, brown tonalities of
these Gladys Sica works? Why do the violet, the green, blues tonalities
become impatient of their shades and lights?
And, moreover, what dazzles, what calcinations, what phantoms are
projected on canvasses screen now often scanned by bars, lines or
subdivisions almost geometric, suspended as between a way of leading
stained glass and a mosaic rhythm?
Severo, one-person exhibition "Cascina Grande" public
Gallery, Rozzano, Milan, 2005.