Six questions for
Gabriel Sierra

Tique asks six questions to an artist about their work and inspiration.
This week: Gabriel Sierra.

Artist Gabriel Sierra
Lives in Bogotà, Colombia
Website https://www.kurimanzutto.com/artists/gabriel-sierra#tab:slideshow

How do you describe your own art practice?

After all these years of art making I was never able to understand exactly what it is to be an artist. Regularly I deal with concerns on how to find the right shape or form to build and represents ideas. My practice is centered in to look for some kind of true connection with myself and with the origin of the creative impulse.

Which question or theme is central in your work?

A few years ago I was very interested about the idea of the present, the situation in which the present-time occurs or is experienced. The idea of the now and how we inhabit or dwell that idea.

I am concerned with the classic modernist idea of art, like for example the archetypical idea of the museum and his physical boundaries, the mysterious proportions of a gallery, the nuances between artificial and natural light. If is it the museum the right environment for art.

What was your first experience with art?

I grew up in a small town in the north of Colombia that didn’t have museums nor any art exhibitions as we know it. I suppose that my first real experience was trough curiosity, trough books, movies and television, and the school.

What is your greatest source of inspiration?

It depends, but regularly I try to think that everything I do is to be alive. Our reality and its complexity. I am interested in how people from the past have experienced the world, the events that we only know through pictures or documents. We think in ourselves as humans beings all the time, but often we forget that we are something more tan flesh and bones.

I often ask myself: where the language come from? what is the difference between architecture and sculpture, landscape and nature, art and philosophy? There’s no difference at all, to me it is just language constraints that we often call conceptual: conceptual art.

What do you need in order to create your work?

I operate with things that do not exist. Like planes, lines, fictional characters, hypothetical walls, doors, windows, divisible spaces, divisible time spans, places. Sometimes I am very interested in the image and the physical qualities of an object, or simple situations or emotions that in some particular way I consider important.

It’s very important to consider the intervals in which I produce and present my work. I mean the boundaries between the idea and the materialization of the idea. This sets the limits between what you can’t do and what you can do with out to sacrificing the concept.

What work or artist has most recently surprised you?

No matter what we think, no one can tell the real function of art. I like to think that art is a job like any other job. But actually it’s not. Dead artists always surprise me, as well old and ancient things always impress me perhaps even more than the new ones. What really surprises me is what actually happens out in the word and how the news and the media cover it.

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