Gladys Sica
Italo-Argentine contemporary visual artist and poet

Interview to Gladys Sica

by Edith Checa published on spanish magazine “Jirones de Azul”(04.08.2006)

http://revista.jironesdeazul.com

Gladys Sica, art exhibition with poems reading,Villa Casati Stampa di Soncino, Milan, 2007.

About creative action

 

 

 

 

 

 

 

 

 

 

 

 

 

Edith Checa
There is your picture in particular that moves me, many of them, really, but one especially, “Stealthy vision”. When you create on canvass do you know what you are going to give rise with your work? Is this your intention? And when I speak about giving rise, I mean stirring up, exciting in the deep every spectator soul.

Gladys Sica.
During creative action, inside myself, an intimacy genuine state happens, we can say nearly “mystic”, with the perceived reality, with the existence as a whole. For this, even if is the final purpose is “to let our soul to drink in the mystery waters” to quote directly the words at the epigraph of my last published book, while I am creating (on canvass, marble, computer, paper sheet) I don’t keep in my mind the conscious intention to stir up something in others in a planned way. In that moment the creative action makes a unity that inglobes everything else and I loose myself in this unity, in this action, in this state. I achieve it and I perceive it like “the only important thing to do.

About the spectator-reader role  

 

E. Ch.
Always it is said that in art every spectator interprets the work projecting on it what he/she sees: fears, unfaithfulness, love or fun. Like a book reader, it is said that the art spectator he/she is creating, too. What role has the spectator of your picture inside you?

G. S.
There is not the purpose of any expressive language, I think, transmitting an informative message that contains only a rational reading level, but a mobilizing impulse so that each person interprets it in his/her interiority with different undertones, according to his/her cultural, sensible, historic, social, conscience experience

For this, it’s a big enrichment listening what the other wants to say about your book, your painting, your bronze sculpture, your drawing. New points of view, different slants are discovered, and the work continues to grow up, changing, maturing, incorporating multiple meanings. Personally, for me is the biggest satisfaction seeing that my works are useful also to the other to stay in touch with himself/herself, all has a sense when shins in the other’s eyes.

About art and poetry fusion and about the different languages

E. Ch.
Your reading public doesn’t know that you are a painter and those that visit your exhibitions doesn’t even know that you are a poet. What are you really? Or cannot it untie, separate art and poetry fusion that is inside you?

G. S.
Yes, at first poetry supports itself, painting attracts by itself, the same happens with sculpture, with engraving, intagliated cartons, wall paintings, etc. every language is self-sufficient, without need of so many external supports or essential explanations for the breath of the work itself.

Then, as you have proven from you during our conversations, it can be seen that all I do beats inside me united by the same thread, everything appears exchanging itself and completing without exclusiveness of a language on the other, everything fed with the same intensity of search and the same incessant passion.

But to discover this it needs to draw near more and, when this happens, the other ones get a vision amplified of the discourse, in a certain way, of my universe...

E. Ch.
I suppose that in many occasions you mixed your poetry and painting. What did it mean for you mixing your visual work to Luis Benítez poetry, for example, another Argentine poet of your generation?

G. S.
Yes, the embrace between different languages is something that could strengthen an idea, a work; I’m interested to do it also with music. Union of my images with Luis Benitez words turned out to be a natural joint, almost the same sea, behind, that flounders. Besides, there are memories… in 1975 we met reading the surrealist manifesto by André Breton, Paul Eluard, Louis Aragon, the bright Antonin Artaud, etc. inside a group of teen-agers musicians, poets and delirious (I believe that only Luis was of age) reunited through an announcement, in the Buenos Aires square that bears the name of the writer Argentine Roberto Art, published on the underground magazine "Expreso Imaginario." Decades later, he introduced and he read passages of my other book during the inauguration of my one-person exhibition in the district of St. Telmo, always in Buenos Aires, that I made before returning to depart.

Even if our link was always sporadic, it can be seen that coincidences of topics, go beyond the matter of the territories and the personal situations, they allow run through synchronic and deep pursuits with the seal of this contemporaneity.

About colour 

E. Ch.
You utilize deep colours, blue, red, violet and geometric shapes that give to your work a deep energy. What is for you the colour? And the shape?

G. S.
Predominant colours are not stable, they depend on the period or on experimented state, on splendour or on phantom that represent, splendours and phantoms that all have inwardly; we walk, each of us, with a light and its shade.

In my works, figures and background proceed as a continuity –through wide surfaces of materialistic spots made with spatula strokes near the frontiers of neo-figurative art between informal and expressionism- crossed, now, by black, grey or white power lines that can, sometimes, give another view, sometimes, can divert us or can integrate themselves with the whole.

Simply, I make visible “the invisible powers” –as I named my last one-person exhibition- that come from afar or from outside or from within and that inevitably, are forming (or deforming) part of our lives course uncertainty and mystery.

About the motivations and the thematic

E .Ch.
What does succeed in provoking in you a work creation? How does a thematic rise in you?

G. S.
As I said before, it’s undistinguished inside me, the apparition of an oil instead of a text, of a drawing instead of a clay. But I never choose, simply, I answer to the call or to that energy that, in a certain moment, wakes up.

Where do they come from exactly?

Perhaps an overload of meanings, of intensity that have to be freed.

A strong situation, an idea or a feeling, a perception or an intuition that returns, at times, the sound of a word or a music that booms inside a fleeting image that passes can be enough to put in movement the creative mechanism in a fierce way.

About route and working way choice

E. Ch.
I’ll be always a frustrated painter. Since I was young I liked to paint with oil-colours, but I was not patient, yes this is the word, I was not patient to paint. I got nervous if I didn’t finish the picture within a couple of hours. I was never able to wait for the paint to dry a little as to continue, I had to finish it immediately. Maybe the fact that I hadn’t a dedicated place for my easel and my colours has much to do with, so I had to move all my stuff in order to avoid having in the middle of my apartment tins, stains, and untidiness. If I had a so big, so well-lighted, so well arranged studio to paint like Sorolla or other painters… but there are no excuses, the painter paints everywhere and the writer writes even on paper napkins or on worse surfaces. Isn’t it? How does Gladys Sica paint? Are you spontaneous in your works or laborious or both or nothing about all this?

G. S.
This is it, if a route gets us nervous and we always find excuses to postpone or justifications, that is not our route.
The route that belongs to us gives us a kind of madness or enjoy that goes with us and is, finally, as a drug or a protection that intercepts suffering or barriers that others see, as insuperable, in our life
.

When I paint, when I create, the most important thing is having a lot of liberty, mental especially, I should say that mental emptiness capacity is the starting interior condition.

The work is an order that born from chaos and is like a miracle, a feast.

For this cause, always according to my opinion, the best thing is working in a studio independent from the apartment where I live, or, at least, in a place or space whether to be able to dirty, to try, to mix and to accumulate ideas, histories, apparently useless objects.

The studio of the unmistakable and great Francis Bacon –some years after his death, in 2001- was moved from London and installed in an open to the public Dublin gallery. Inside there were found 7.500 objects among photos, cut from magazines and books, empty bottles, left undone canvasses, jars of painting, newspapers on the floor and layers of painting overlapped on the walls: all a mess moved and re-installed as it was as an ancient fresco painting. Also in my case, we say that the apartment where I live is much more squared up than the place where I work.

Besides, another key condition is having time.

I came to the decision, several times, to cancel working meetings and other plans explaining that I was sick, as example, only to finish a poem that waked up with a morning, without “it” informed me.

About route and working way choice

E. Ch.
What does it mean for you spontaneity?

G. S.
This is it, if a route gets us nervous and we always find excuses to postpone or justifications, that is not our route.
The route that belongs to us gives us a kind of madness or enjoy that goes with us and is, finally, as a drug or a protection that intercepts suffering or barriers that others see, as insuperable, in our life.

When I paint, when I create, the most important thing is having a lot of liberty, mental especially, I should say that mental emptiness capacity is the starting interior condition.

The work is an order that born from chaos and is like a miracle, a feast.

For this cause, always according to my opinion, the best thing is working in a studio independent from the apartment where I live, or, at least, in a place or space whether to be able to dirty, to try, to mix and to accumulate ideas, histories, apparently useless objects.

The studio of the unmistakable and great Francis Bacon –some years after his death, in 2001- was moved from London and installed in an open to the public Dublin gallery. Inside there were found 7.500 objects among photos, cut from magazines and books, empty bottles, left undone canvasses, jars of painting, newspapers on the floor and layers of painting overlapped on the walls: all a mess moved and re-installed as it was as an ancient fresco painting. Also in my case, we say that the apartment where I live is much more squared up than the place where I work.

Besides, another key condition is having time.

I came to the decision, several times, to cancel working meetings and other plans explaining that I was sick, as example, only to finish a poem that waked up with a morning, without “it” informed me.

About titles

E. Ch.
There is something I don’t like about painters, is their mania to put as title “Untitled”. I never understood why a picture is untitled and above all an abstract picture, which can have millions of interpretations. When I find an untitled picture I think “even its own creator knows what he/she painted neither he/she wants to express”. Finally…joking aside, everyone can do what he/she wants. I really say this, but always for me it’s a terrible thing entitle what I write. I can write a novel in five months and passing seven months thinking about the title. I see that all your pictures have a title. What importance do you give to the title? How do they give rise inside you?

G. S.
Titles for me are part of the work itself, born together with it, they are in the painted canvass, in the drawn sheet, in the sculptured bronze. They complete my works and never are arbitrary. Maybe some work born without titles…but this happens rather with preparatory works or sketches that, later, I decide to show in public. In my poetry, titles correspond, almost always, to the last verse. But not even in this case it’s a decision taken previously, a fixed or predetermined scheme.

About the relationship between works and public

E. Ch.
Last phase after creating a picture is delivering it to the world. Even you said before that is really that moment that the work finishes, precisely when it shines in the other eyes, I suppose that is the same when you publish a book and you present it and it starts to circulate through readers, it stops to be yours, it becomes independent and… you leave it free like a child.

G. S.
Yes, I pointed out in another occasion that it can be listened, sometimes, laments of the pictures, of the sculptures or of the books that remind you their will to move, go around the world, meet people.
You feel like the duty, in front of your creation, to give it the opportunity to live its own adventure. This doesn’t happen almost always in the expected time, is like falling in love, it cannot foresee when it will happen the final meeting with the collector or the art dealer, with the reader or the editor. But it’s our own responsibility, in any case, allow and taking care the relationship between works and public, within our possibility. For me has vital importance the relationship that born during an exhibition or a reading between myself and the public, is, often, a magic relationship that is perpetuated in the time. People tell you what they live, they think or imagine starting from my poetries, my paintings, my images, my words. Sometimes they invite you in their houses to show you, where they put the sculpture or the bought picture, and there is no any other better thing than ascertain how many cuddles receive your ancient creature.

About my first novel

E. Ch.
I know that you fell yourself “one hundred percent Italian thoroughbred” and it comes from far, inside you, from your dreams, like something mysterious in your life. Maybe for this you travelled so much from Argentina to Italy, as if something calls you. And how to ignore this heart, instinct, intuition calls? Now you have in your hands a novel, already you have its draft. You said me that you can compare poem creation with painting, does it happen the same with novel and sculpture?

G. S.
My novel just deals with these ancestral calls, mysterious dreams, events with this Junghian synchronicity that leads our life, a first travel experience. A travel not only as geographic or outward route, but, above all, spiritual or evolutionary, an inward seeking travel. Although my first novel is in the embryo stage, since only its heart or its central nucleus is finished, I don’t know how much more its branches of secondary subjects and characters will develop. So, as I have already explained in another conversation with you, in this first approach to my novel, contrary to what I was expecting, I found myself sailing in calm waters.

The process was almost a revelation one: I can say that suddenly burst during an holiday in Venice: I was sleeping, I got up, I saw all sequences like a movie, I wrote the chapters with their titles having clearly in my mind all its general content and then I went back to bed. Obviously when something bursts, undoubtedly a very long gestation inwardly activity exists – maybe secret or not- that could takes years, months, weeks or the entire life. The fact was that I was not looking for it, it came without notice and monopolized my time and all my energies.

This visualization -even if primitive- of all organizational outline before starting to write, happened only when I create a sculptural work, where it is necessary to know what I want to leave in order to place a support skeleton to extract a defined idea from a stone. At least to me -because as a matter of fact each author has his own formulas or his rituals and, provided that they are useful for someone, must be respected- this for example doesn’t happens to me with poetry or painting, because in these the creation develops itself only in the least consciously organized, mostly flows following unknown, unthinkable movements. It could be that I needed a medium to say more things at the same time, or that I had the will to tell them more directly or to show them in a different manner, a peak that offers other expressive possibilities, a new route for me. We will see where it leads me…

about Argentina and Italy

E. Ch.
What does it mean Argentina in your present and what does it mean writing in Spanish in Italy?

G. S.
Argentina represents the place where I can dream, Italy the place where I can carry into effect these dreams. Argentina is my youth, a way of living full of excesses and contrasts, the poetry, above all is the poetry. The language tie is something difficult to explain, the language gives a sense of immediate, primigenial belongings.

Living in a country with a different language, is the most difficult challenge for whoever works with the words, it could be destroying, but it could be a strength point. Italy is my maturity, a way of living with a careful and almost frenetic working rhythm, is the art, above all is the art… inside Italian people the colour feeling is fundamental, atavic.

As you can see, I move myself in equilibrium between two loves: poetry and art, Argentina and Italy, it’s impossible to leave out of consideration one of them, for me there is no way of choosing.

About expectations

E. Ch.
Finally, what do you expect from poetry, from painting, from your novel, from Italy from life itself?

G. S.
Continuing to live, miraculously, doing my job with dignity, it is the primordial thing. Then if this activity increases itself, it arrives to more people to open a different door in their lives or to approach others with which making projects in harmony with the world, those results will be welcome.

I hope, finally to continue to live the adventure to stay alive continuing to recreate in liberty, despite all the terrors and the dark points of our time and our planet, the magic of the life.

Copyright by © Gladys Sica
All rights reserved. Unauthorised copying, reproduction, printing and/or circulation are prohibited without author’s authorization or quotation.