Italo-Argentine contemporary visual artist and poet
Gladys Sica


Interview to Gladys Sica


"Italo-Argentine poetess and visual artist"

by Sashinka Gorguinpour on (20.11.2007)

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

Sashinka Gorguinpour
1. Do you write for your’s living or do you live for writing?



Gladys Sica.
I can say that I write to live more deeply certain moods or events, it’s a personal route, one among many ways to catch hidden shades and feelings.
In reality all thinking are made afterwards, because at birth there is a spontaneity, a simply making, nothing else.
At the time that the spur comes, always it becomes something irrepressible, irrational, without time for think about, and I cannot do anything else.
It’s not something I look for, it’s something that looks for me in a certain way, and when I’m at work I feel I’m doing the right thing, that the pieces of a bigger sky put themselves in order, that I am inside an energy and harmony point with the universe.

2. How much is important reading for who likes writing?


G. S.
Reading form part of the technical background required knowledge, certainly at a first moment it’s necessary to learn how to mould what is coming into the world, to understand how that words and silence unstoppable universe runs.
Then, when the fundamental codes are acquired and you are already plunged in that specific world –in this case the writing world- you go deeply into creative process magic.
How does run this alchemy that allow to a work to be useful for the others, what allow it to jump from an individual existence or from ego sphere to a wider perspective? I don’t believe that there is a recipe, I don’t know if a right blend exists.
Motivation or “inspiration” can comes from thousands life angularities: from a situation particularity, from a special vision, from an intuitive perception, from a word sound, from text procreant other texts.

3. What are you used to read? What are your unusual readings?

G. S.
I’m ever very eclectic, in everything. At the beginning of my education there was a predominance of poems readings –above all Argentine and French surrealist poets- and essays about any kind of subjects, spiritual pursuit, philosophy, and art and anti-psychiatry books.
Passion for novels or biographies came tardily, that’s why I read late some jewels like for example “Pedro Paramo” by the Mexican Juan Rulfo or “No habrá más penas ni olvido” (There will no more neither pains neither oblivion) by the Argentine Osvaldo Soriano.
One of the last books I read was “Budapest”, a novel that surprised me a lot by Chico Buarque, the very good Brazilian singer-songwriter. A history of double identity, double language, double life told with vital up-to-date style.
Portuguese José Saramago sharp prose captivated me with “O Evangelho segundo Jesus Cristo”, (The Gospel according to Jesus Christ), “Ensaio sobre a cegueira”, (Blindness) together with poetic and deep Erri De Luca prose with “Aceto, arcobaleno” (Vinegar, rainbow), “Non ora, non qui” (Not now, not here), the discovery of Alessandro Baricco changing and cultured prose with Oceano Mare” (Ocean Sea), “Castelli di rabbia” (Rage castles), “City” among the others. Actually I’m reading “La mia strada è la tua strada” (My route is your route) first volume of Commentaries on Living by the Indian Krishnamurti, a very personal and innovating look on our mental processes and conditionings suffered by our society, a master that I discovered when I was sixteen.

4. When did you start to write?

G. S.
Writing for me was not a fruit of a conscious choice, it was rather something I have already found inside my life: in my prehistory were the compositions in the primary school, the moments with a sheet enjoyed, in solitude, like a big infancy adventure. When I was twelve I belonged to a group that met and read in two historical Buenos Aires cafés. I liked Garcia Lorca among the Spanish, Pablo Neruda among the Latin-American.
When I was fifteen I answered to an announcement for forming a surrealist poets group published on an underground magazine, we were all under age.
In those years, the Seventies, in Argentina surrealism enjoyed an inexplicable glory between young people. In reality, I remember that also living was surrealist a little bit. I read and I loved those poets, especially Rimbuad, Antonin Artaud, and the Argentine Enrique Molina. I discovered successively the greatest Italian, English poets and everything else.

5. When will you stop to write?

G. S.
I am not able to imagine my life without this job with words or images, because is something that was always inside me on order to follow and to support me.
Expressive expressions can always change -for example I never made an incursion in the novel land before- or it can happen that there are large breaks because energies go apparently towards other tracks -painting on canvass, mural painting, sculpture or engraving- or for particular intense situations that happen in our history.
Sometimes pauses or crisis can be more than positive, cover new gestations, renewed energies.
At the end I see that all comes back reinvigorated in the creative river, to enrich -at least since now- the literary and artistic material.

6. Talk us about your approach with book industry world. Positive and negative sides.

G. S.
My experience with literary industry is very limited because of the fact I published only through contests, I never looked for an editor since now.
My published books are only two, one through a first prize in Milan, the other in my hometown Buenos Aires.
Unpublished production is wide, comprehends two poems collections and a short novel.
Maybe the parallel artistic activity eclipsed -always talking about the public sphere, not about intimate creation- the urgency to publish and concretise in my literary activity.
I don’t know precisely, there were very peculiar circumstances in my route, as for example facing the adventure of a different language arriving, restarting alone, in my ancestors land.
The positive side of this kind of books with contests is that always they don’t weigh economically on the author and that a prize can open a door, mostly when a person comes from far away and he/she is unknown for everybody.
The negative side is the disorder of published anthologies: texts of different periods were mixed, other texts of the same period were not published, and it’s happened that such sequence was lost. A little to adapt to rules imposed by contests and a bit for the voracity accumulated that takes me advantage the opportunity to give birth the biggest possible quantity of texts, in my case.

7. Writing is a means or an aim?

G. S.
I believe that this answer is inside my first answer, is it?
I repeat, for me life and work must be reflected, marching together even if this not always happens.
Life nourishes work with a veracious energy, but in turn work nourishes life modifying it.
The same happens with readers or spectator sight that completes the text, the object, the idea with unusual sense.
We must follow routes that we feel our routes, all this helps us to live better, allows us to understand this strange world that we contributed to create, allows us to touch life with deep enthusiasm. Writing is a good way to do it, not the only one, for sure.

8. What do you suggest to who wants to embark this route?

G. S.
I don’t believe that I am in a position to give advices.
I can say that in my experience I understood the fundamental thing are readings with people, coming out the circle of the well-known “insiders”, open to whom make a complete different activity and absolutely doesn’t know my work.
Going further by favours exchanges with “friends” gives a sense of personal intimate frustration and total professional insecurity in the long run.
Even if contests are a very good way to test us at the beginning, I believe that finding a fit publisher -like a fit art dealer in art- can do many things for an author, but this occasion haven’t happened to me since now, I must say I really never looked for it.
But sooner or later I must try this occasion happens, even if I am of the mind that certain things can’t be forced, that must happens in a natural way.

9. Are you working on a project?

G. S.
In this moment is the short novel, the first and the last, I told about it before. For me that I always wrote poems this creature is a complete novelty.
But I still don’t take care seriously about its promotion and publication, I know that it can disorientate a little, in the meaning that it comes out the traditional narrative outline, its prose becomes very poetic, it doesn’t describe so much the characters as that energy behind them and push them to do, to look for, to carry out their dreams.
In this case a dream of a travel, but it can be extended to any dreams, a reflection on intimate liberty that can change a destiny.
I hope to find the right route, maybe now it’s time to find a publisher.

10. Do you have a dream that hasn't come true yet?

G. S.
Yes, it’s past time that the thinking to add technology use to my activity assails me. Enriching texts and image with video in particular, that is producing video art o video poetry, I have some ideas, but since now are only cues, visions, fragments.
I don’t know when they can be carried out. Sometimes an idea becomes real after a long time, the important is holding on, don’t forgive it, waiting the right time or the favourable soil to sow it, to do not spoil it in advance of making it old before its birth.
There are various elements that must flow together, but art mystery remains, at the end, always inviolate.

Copyright by © Gladys Sica
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