The mysteries of biology , 1983, oil and mixed media on canvas, 190 x 170 cm
In March 2008, The Horton gave an interview to 200 days Sing-Sing in . After that time, his words remain important, because his own work is as timeless. It discusses his career, his experience of art, his way of interpreting the past and present. In short, a key to understanding painter iconographic and pictorial transformations of the last 30 years in Spain. I must note that for reasons of space and features of the blog may be reproduced faithfully the atmosphere of the interview published in the journal. This version only contains some original interview questions. For those who want to delve into it, I refer to the website of 200 days Sing-Sing, where they can descargargarla all content, photographs and full texts.
How do you remember the years when you started to paint?
I've always painted my whole life since I was a child in school. Was typical child in class who was always drawing. In fact, I super young. My first table they paid me when I was thirteen. He was a typical artist of the class. I went to Marist and La Salle, in Valencia. Then I remember my professor of drawing, which was a cure, at Marist, I began to draw on the blackboard model that students had to copy. I did the work to the teacher. I gave honors in drawing. At that time I was also director of the school magazine, called Boom. He was the director and was a child. I was twelve. And I remember that I painted the cover drawing directly on a kind of casts that had to be Ferro called. Drew directly there and this happened to press.
Remember the first work you published? I say this because you were very early in that regard.
The first time I started posting seriously was at thirteen. I had a friend named Miguel nuts, which was very futbolero. I was not anything. And in Valencia had a newspaper called Record, that was football, as the mark. Then they lacked a cartoonist and draw an advertisement. Michael was a friend of the director of the newspaper. I went with my folder of drawings and was hired. Imagine me, a boy of thirteen. I had to be every Sunday to listen to all parties. Miguel was writer, he invented the joke, the anecdote, and I had to draw against time an entire page, called page Morera El Hortelano. He had to leave on Monday. On Monday morning was a hero in Valencia. Everyone read my page. Were drawings and down like my verses. Then I remember I met Marshall. We saw in the park. He is five years older than me, and he belonged to the gang of older people. I realized that he was like very modern, as the most modern of Valencia. Started drawing. I'm talking about the days before the Garriris of 67 years or so. Then went to see him home, taught me his comics. I also went to see the Chronicle team, when they had a studio in the street Turia in Valencia. And I was learning from around the world. On the other hand I was very friendly, and I still am, Roberto Jimenez, who now teaches at the Faculty Perspective of Valencia. We liked the music. We went to see Pink Floyd at Toulouse. He was a member of a band. And he also painted.
The mystery of the world, 1985, mixed media on canvas, 180 x 260 cm
The appearance of the Journal Star in 74, also expanded your horizons. Journal is essential in your career.
I was much and we learn that he will make Star magazine . Since there appears Juan Jose Fernandez, and that we get everyone. I did not know yet Ceesepe, or Alberto García Alix, but some of them, people of Madrid, Barcelona began to publish without us even know personally. And I liked what I did Ceesepe, the time of Slob, and, well, he said "This man is a genius." Ceesepe I still think a genius.
Your Star collaborations, both in its formal sense and the content of the stories, is separated somewhat from the classical concept of underground comics that had been publishing in the journal. Work on stories with a contribution even conceptual, unconventional narrative. The first signs of what would be your number Requiem Europe. Even delving into the vision you bring in that period, nature, the appearance of animals, insects and elements of the natural world and the role that becomes the sky (heaven) so common in your later work is already present.
I've had a great influence of classical painting. Two types of influence. On the one hand, the classical paintings of Velazquez, Goya, Van Gogh, Soutine, like El Greco, Hieronymus Bosch. For example, the time of Europe Requiem I've never done a comic in the strict sense of vignettes, frames, middle and end, but the whole Star season were like stories that have more to do with Goya's Caprichos, a kind of epic spiritual man looking at the stars and questioning about us Where did we come? And where are we going? ... I think art is very important in people's lives. When I make art attempt to influence people. I've always said that I seek is to make people happy. Even in the era of Star, tried to have a deeper meaning, or mystic. But I have surreal stories.
Dipper / Megrez (series 'Big Dipper') , 1999, oil on canvas 200 x 200 cm
That world, with references to Bosch, full of symbolism, a world figured almost apocalyptic signs, summarized in four pictures from 1978 entitled The Four Seasons, for your series Requiem Europe . Similarly, it seems to me that summarize your work in those years.
Yes, that each season attempt to summarize all the findings he had made in paint. There are many anecdotes, tributes, too. Tributes to Garriris (Mariscal). One of the characters in Europe reading requiem The Trapecista of Ceesepe, who was a fanzine that he had made at the time. The part of the spring is dedicated to Barbara Ouka Leele. There are many allegories hallucinogenic mushrooms, the dwarfs. The dice also have used a lot lately. The background is made with an airbrush. I was among the first in Spain I bought an airbrush in London.
Read
In 1980 you hold your first solo show titled Fashion , René gallery in Barcelona metro. Its opening has all the tints of a happening: you arrive in an ambulance, with a sea bass tie, lying on a stretcher carrying Leele Ouka dressed as a nurse. Certainly part of that performance was reflected in your video Koloroo , 1980, one of the first to use the language of image and video art What was the intention to make a happening of these features? What does this exposure as a painter in your projection?
First, you have to do with that I'm from Valencia, I have always
a sense of spectacle. Now I'm much more relaxed, of course, what I like is to present and that's it. But then not many people knew me and had to do something sounded. From there that I know and everywhere. And there was also a component Conceptually, the sense of the artist as medium. If you notice, between the elements of this performance is the ambulance sirens, as if we were the alarm company. For example, I've always felt intimately what I paint is brand new, is a sensation. At that time I believed, and still believe, that what I did was revolutionary, that had never been done before, but always have influenced many people. Each artist has a sense of what his art. There are some that are quieter, and I think I'm changing the world. So the painting seems a very serious thing, because the paint can change your life. In fact the only things that remain, it is ie, good art transcends your miseries, your loneliness, everything. Art is a hospital where people are cured. Apart from that statement that there were many more things. The entire gallery was filled with televisions broadcasting the entire event delayed. In fact, for better or for the next day, I knew at all sites. But the interesting thing is that at the time, while I was doing this performance for fashion, with the bass as a tie, also made it Leele Ouka pig in the head. She opened an exhibition in Madrid with a pig in the head that he had taken his eyes and had lights inside. That time we spent together a little animal phase. If you realize I'm representing man's world, the tie, which is a fish. And Ouka Leele is representing the woman's world, a hairstyle, a hairstyle like a pig. It's hairdresser, a female world.
In 1981 he made a picture which also demarcates your work for some years, at least until 1985-1986. I'm talking about the neighbor, a work in which the urban present and nostalgia for the natural environment represented by the sky and the moon. It seems to me that this work will be continued in as many: Grooming (1983), The mysteries of biology (1983), Milky Way (1983), Eating (1983), The branch (1985) or Knot (1985). There is a change in your approach possible to rationalize this transformation pictóricos.Sería in your painting?
I think my work has always been evolving. Regarding The neighbor, I never made a leap too strong. One thing always leads to another. In the paintings of that time always short of rooms. They are like two worlds, the universe, the moon, the cosmos, and interiors. I like the symmetry. In some pictures there is a set of crosses, clouds, cross, cross tears ... And there's always an element in an interior that matches one from the outside, for example, the branch with the moon. There is always a match of a small thing with a big thing, for example, in another picture there is a correspondence with a fingernail moon. These pictures are very urban, in full Madrid nightlife. Whenever there is a world that develops in windows. Even some of these tables are also pure Requiem Europe. In fact, I am always painting the same with different languages \u200b\u200b.... What is clear is that what influences me most is the man looking out the window. If you notice, I'm always talking about the same: the man in the window What is this? A trip to infinity. It's actually what it is for art, to run away from yourself, to fly.
painters What interested you? I like
good. Velazquez, Goya, Van Gogh, Odilon Redon, Sautin, Caravaggio. El Greco, I love El Greco. Also, my pictures from that era have a lot of El Greco. Marc Chagall has things I like. Picasso. Is that there are actually many good painters. Those who like everyone is also about something. What I like also is a natural part of Monet. And besides all this, what most interests me is the Asian painting, Japanese painting. Japanese prints, watercolors zen. Eskimo painting, that has influenced me as Velasquez and Goya. Topor, people that I worked very well in ink. Topor is great. Topor drew much of OPS, drawings that are as recorded. Moebius is very good. I am a person who likes a bit of many artists. Not an artist I have everything I do I like, or Velazquez or anyone. Velaquez has things I like and things I love. But you know what most influenced me?, Nature. More than the best artist in the world. To me what impresses me most is now giving me a tour of El Retiro and see nature and to see a beetle in the grass. Dürer, for example. I love Dürer. Dürer's hare. It is a great painter of nature.
In 1985 a painting also key: The mystery of the world . A full dump box, and nature, as opposed to the previous stage, they were more urban. Also, change your color scheme. Using warm colors, light. There is a substantial change.
I think so. It's just that I go and take a walk through the countryside, if you realize what it means to the table. I leave the field to give me air. In this picture there is a world to discover, a procession of ants, dice, who were already in Europe Requiem. You can do many readings. There is a heart of love engraved on a tree, I'm looking the other way. There's a world of separation and stories. But the beauty of a table is read by the viewer. In addition the viewer can make up whatever he wants. A table has several readings. You need not stick to one kind of reading. That picture is as simple as I like to take a walk through the countryside, then you can already read fifty thousand ways. There are parts very Van Gogh. It also has a lot of stuff. At that point I start to put a lot of stuff, has a thick as two fingers. Is scraped with a knife, like a soup. Oil mixed with soil, and you can almost stick your finger into each slot. The tree is fully massif material, sawdust mixed with oil.
turtle's journey (Serie 'Human' n º 65) , 2004-2005, oil and mixed media on canvas, 28 x 22 cm
The 90, surpassing even the early years of this decade, are marked by two series, projects a major conceptual and stylistic immense: Pater Noster (1990-1994) and Dipper (1996-2004). Even in a text entitled "Big Dipper" write: "Dulce sky that comforts my heart." That kind of nostalgia that we talked about in relation to some of your paintings of the 80 seems to dissolve in a serene to make way for the communion between man and the cosmos.
When I go to Rome, he also influenced the Christian tradition. As I consider myself a religious painter, not the Catholic way term, but the Lord's Prayer for me is like a mantra, a way of thanking the universe. What says the Lord's Prayer seems to me a wonder. I pray every day before lunch and before dinner, because it is born to be thankful. In the world there are really hungry and we are fortunate to have each day. In Pater Petals My life ultramarine, 2006-2007, oil and mixed media on canvas, 240 x 170 cm Noster paint a notebook of 2x2 meters each verse of the prayer. And Bear back to the universe. The Big Dipper are seven stars, and this series consists of seven tables.
El Hortelano in So Carnaby Street was founded :
City and Moon Celestial mechanics
Interview El Hortelano :
200 days in Sing-Sing
Links El Hortelano :
El Hortelano
El Hortelano on MySpace
Bank Image of the City of Horton in Painting
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