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  • Writer's pictureLa Pera Projects

GVIIIE in conversation with Victoria Ríos

1. Define Postmodernity: archetypes, trends, ideas. How do you think it becomes part of your work?

For me, postmodernity is the outcome of a phenomenon that started in the XVI century with Protestant Reformation and it is characterised by the definitive dissolution of the traditional human manners, the belief systems and the oral structures and the direct experience. In short, it is a form of govern that keeps us away from ourselves as a species.

For me this phenomenology is directly related with an advanced stage of the capitalist economic system in which every part that constitutes humanity is replaced with consumer products (cultural, identity political, etc), as we all know. In face of the collapse of supply-demand-resource chain, the material world but also the cultural world become a big recycling plant subject to the market interests above those of sustainability.

I think that much to my regret, I am a direct child of our times. I report without conscience all this phenomenology that surrounds and I go placing paintings without order or agency. But isn't this lack of path and intention which characterises the times we got to live?

2. We "drink from" and "live" contemporaneity in harmony? Or do we live in a give and take manner?

I think that by answering the first question I'll answer the second. Any functional phenomenon that occurs within a mercantilist system will be, by definition, subject to a market logic: love, art, sex, sports, death... Attention, I've said functional, that aspires to integrate in the system. If we want anything to escape this mechanisms, it will be, in my opinion, dysfunctional and disruptive and will probably have low chances of survival within the 'machine'. For example, give up your payed job to take care of a sick loved one, or family member or neighbour.

That is why I am trying to look less at contemporaneity and look more, with some romanticism, at the past, at our ancestors.

3. What are the inclinations and instincts of an autodidact creator?

I think that not going through a established schooling system allows you to access your discipline with greater freedom and, to a certain extent, more 'purity'. Only you direct your learning process, and the path will be unique. When you reach the end of the journey, that itinerary, that collections of turns and shortcuts will be singularly yours, it will constitute the desired singularity of the modern artist. Your path is not shown in the big maps.

4. The individual and society, I see your work and I see me, I see us, alone. Isolated individuals but belonging to the whole; sometimes I must look at your work within the global to reach those tales, each of those lives. Everything is an idea, a sensation but it is shaped from your "instinctive figurative plastic".

I am glad you can see it this way, because sometimes from the eye of the storm one cannot see at that scope.

I am a painter by breed, I paint because I love that activity. There is no discourse that authorises my creations, I do, and what the whole of my production exudes will be the most honest residue of how I lived my historical moment, as immersed in it as the guy next door, but with my own attachments and phobias. I think that any creator is alike. A dreamcatcher in the night of the times.


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