Daniel Dobarco in conversation with Victoria Rios
1. Contemporaneity in 5 words
Internet (the internet)
2. What is something you consume that you believe directly influences your work?
Firstly art, and more precisely painting. I like to revisit the works of the past, also the work of artists producing today, but I look at them with different eyes. From the past I like to learn from their compositions, color palettes and themes. I approach the work of my peers as a dialogue, as we coincide in time and are somehow 'closer', I can question myself what things we have in common and which things we don't, but one way or another they transform you.
Then there are books, whether they are novels, or philosophical books, that is something I always go to. Or things that stick in my mind, a simple sentence takes me somewhere even though it might be seemingly unrelated to the topic or concepts that I am analysing.
Last but not least, video games. I play a lot, since childhood and from them I gather everything: compositions, ideas, sensations, imaginary, concepts. I have an archive of screenshots.
3. An imagined world or a real world, should art be a mirror of our time or should art put forward everything we think?
I believe it is inevitable that art responds to our time, and even so more now that everything is intertwined. Now, the way we position ourselves and the way we translate it into art is probably what defines us more.
It is like creating a world, it will always resemble ours, we will inevitable find analogies and that is what I propose with my work. I created a fictional world, which I have named Cruzeta, and it is inhabited by certain beings extracted from video games, and literature, but in the end they are all a reflection of ourselves, histrionically, in a way, they are archetypes and they help me generate narratives that allow me to speak about things I have in my head without having to be legible or to justify myself, playing and making an obtuse and weird, and even absurd discourse. The fictional worlds have something that I really like and it is that they have being created to be looked at at a distance and they all feed our voyeur desire and make us feel that we live there too in a way, even though some of the things that occur there will never occur in our world.
4. Irony, sarcasm and humor: three ingredients in your work!
I have sort of an obsession with the carnivalesque, with its tradition and all the theories that have sprouted from it, I think that from it you can deal with a number of things, because it allows for the alterity between antithetic concepts, the traditional being between high and low or sacred and profane.
The premise that one of the strong points of carnaval is putting everything upside down, inverting the world, allows for envisioning a new world in a small fraction of time. When I propose a piece, I ask myself these sort of things, for example, in the two pieces I present for this projects I speak of boxing, but I don't expose the fight in itself, I show the moments of pause, the breaks; furthermore the fact that they are orcs, normally evil and violent beings, intensifies the oddity in the times of rest. Lastly, thinking about this, religious images came to my mind, like the Ecce homo or Judas kissing Christ, these too are scenes of rest after the calvary and that is why the compositions resemble these icons. So we have the high or sacred (elite sports, religious iconography) and the low and profane (rest, and orcs). The carnivalesque humour does not seek to make us laugh nor does it attend to something in particular, it offers a change in perspective.