Gladys Sica italo-argentine

contemporary visual artist and poet

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Scuplture cubism - futurism forms.Sculture
Intagliated Carton Arte povera: poor - minimalist art Intagliated Carton
Painting neo-figurative - modern figurativePainting
Latin-American Mural paintingsMural paintings
Engraving on wood - zinc - linoleumEngraving
Drawing with china ink - biro on paperDrawing



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Portal de Poesia Contemporanea
Poesia Contemporanea

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.

Interview published on web site (2007) -in English-

L. R. C.
4. Did any artist influence your pictorial art?

G. S.
The line in art could start from a very long time before, with Michelangelo liberty teachings, the Mannerist and Goya, then Van Gogh, the cubism and the Argentine neo-figurative group.
In Europe the direct meet with that Francis Bacon forms changed under high temperature pressure, was the best thing that could happen to me, followed by Lucian Freud lucid and precise bodies strokes of the brush and Canogar in Spain, another great between formalism and figurative.
In Italy the discover of Afro Basaldella: only colours and some informal trace on the canvass, but that form an unique symphony, pure poetry, perfect battles.
But I believe that in my paintings, nevertheless, the first characteristic raises from the fact that it comes from a sculpture background, sculpture was my first love in art and this can be clearly perceived, is what gives it a greater strength.
I work on the plane with a lot of material, with spatula, with a special tendency for the volume, for the space, almost as if it is a bas-relief or an high-relief.
Also the intagliated carton invented technique, worked on coats, reveals this tendency on my work.
In the last paintings appear lines that cross all the surface and that can be interpreted as interference, simultaneity or fragmentation inside the context.

Interview to Gladys Sica "Poetry and art, the same passion, the same fire" by Luis Raul Calvo published on argentine magazine "Generación abierta" n° 49 e n° 50 (2007-2008)

about creative action

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 Argentina and Italy

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.

Interview to Gladys Sica by Edith Checa published on spanish magazine “Jirones de Azul”(04.08.2006)


Portal de Poesia Contemporanea