I Fell and Hurt My Head
Who influences you graphically?
My art was influenced by different people and situations. It all began in my childhood. I fell and hurt my head. That was the first time I saw the stars. After that fall I started to be into space. In school years I began to visit the Planetarium, because of my new interest. One day, in the Planetarium’s basement, there was an exhibition of Hans “Rüdi” Giger’s art. It was a bit dark, with a creepy atmosphere and because of the careless move, or an art surge I stubbed my head on the wall. And the puzzle was completed – stars on the top, moon landscape on the bottom and my fantasies in the middle!
Also, the 5th November, 2014 – the premiere of my first collage, coincided with «Puno Day» – the celebration of the Inca’s Empire foundation. As Indian legend has it, Manco Capac and Mama Occlo came out of Titicaca lake, and created the world, the stars, the human being and the City of Puno. The place, where Manco Capac had stuck his golden stick, became a city. This beautiful legend inspired me and was a huge boost for publishing my collage in the Instagram!
What is your take on the art of collage?
My relationship with collage art is like the relationship between a digger and his shovel, between a woodcutter and an axe, between a dentist and a drill, between Messi and a football boot, between a Banksy and an aerosol can, between a painter and a brush, between an architect and an ArchiCAD. So, I use collage art as a professional tool of self-expression and as the most accessible way to visualize my modest ideas!
What are the implications of juxtaposing time, space and cultures through an image?
Matthew Arnold (a man with gorgeous whiskers!) once said: “Culture is then properly described not as having its origin in curiosity, but as having its origin in the love of perfection; it is a study of perfection”. Time and space – are the endless studies and the endless perfection. And the artists, who can show that, will go down in history. I hope, I would manage to do it too!
You generally use architecture as the backdrop of your work to then build upon it. How does the architecture then influence the manipulation of the work itself? On the other hand in ‘Rain’ it almost appears as though the architecture is born out of this meteorological phenomenon and can almost be interpreted as a Hockney approach to architecture, what changed here when compared to other images. Why does the architecture all of a sudden appears as the centrepiece?
Goethe or Schelling somehow said: «Architecture is a frozen music». This expression also compares to my collages. In my works architecture is like music: sometimes it sounds like a soft background and doesn’t attracts too much attention, but sometimes its sounds is the main melody, a fundamental idea of the work.
What is the significance of your image Welcome to Las Vegas? Can it somehow follow though and be a modern day interpretation of Venturi’s Learning from Las Vegas?
My architectural orchestra consists of: 1st violin – Le Corbusier, 2nd violin – Yakov Chernikhov, alto – Ludwig Mies van der Rohe, cello- Frank Gehry, harp – Zaha Hadid, flute – Antonio Gaudi, clarinet – Remment Koolhaas, French horn – MVRDV, trumpet – Coop Himmelblau, drums – Bernard Tschumi, bass – Peter Zumthor.
It’s like an «All-Star Orchestra»!
I like the architecture itself. The idea of the collage chooses the place for the architectural object within the work (sometimes background, sometimes central piece). Limit for art – is the jail. That would be awesome to learn perfectly to play skillfully on every instrument!
Venturi’s main idea is: «Learning from what’s around you». This expression compares to my thoughts about learning the world and learning myself in the world. But my work «Welcome to Las Vegas» doesn’t concern to respected Venturi’s work «Learning from Las Vegas». It’s more about the unfulfilled hopes!