Monday, November 7, 2011

a conversation with Larissa Bernardes

She walks in, gives me a small wave and sits across the small café table we both now occupy. I sip my cappuccino. It’s not that bad even though I may have had better. The waitress arrives with my order of tacos, which is perfect for a café in a bookstore. She orders a glass of wine. I invite her to have some of my tacos. We eat and Larissa Bernardes waits for me to ask her some questions about her poetry.

EA
Tell me about this concept of modern mythology? Are you going to do a series of short stories, will it evolve into a novel, or will you keep it in the realm of poetry?

LB
It’s mainly going to be poetry. I do have a couple of pieces that you could describe as poetic prose, where they are poems but could also be considered short stories. It’s always a slippery slope with poetry. For example, just look at ancient epics, when you look at Beowulf for example, it’s a poem but it’s a story at the same time. I mean the whole concept of prose is actually relatively new. Before, all stories were written as poetry because they were passed on orally and it was a good way to remember. So my work is mostly poetry but I think I have a couple of pieces that they are sort of like flash fiction. They are real short pieces that have rhythm to them and they’re very poetic. So I suppose you can say I have a combination of poetry and prose poetry. I wouldn’t venture so far as to say that they’re short stories. Although I have written short stories before and I’m definitely open to them.

EA
I wanted to know your thoughts about this poetry movement that has been going on in Miami with the University of Wynwood?

LB
I haven’t been too involved with it but I do subscribe to their mailing list and, when they had the O Miami festival, I participated in one of their events that was based on the concept of Dérive, which is an unplanned adventure. According to Dérive, because of our modern day lifestyles, we get caught up with our day-to-day routine and become detached to our surroundings. The point of the Dérive that day was to walk in the city and see what happens. So we did that and the O Miami festival choose Wynwood, which was great because of all the murals. But at the same time it’s still the ghetto and that was a nice juxtaposition.

EA
I know you’re interested in European mythology but are there any other cultures that hold your interest?

LB
I love ancient Chinese and Japanese folklore and myth. If you’re not familiar with Japanese folklore, there’s a Japanese film called Dreams, it’s by Kurosawa and it’s a series of segments, literally dream segments. The first two segments are heavily inspired by Japanese folklore. Asian mythologies in general, not just Japanese, have a lot of spirit animals in them. The first segment of the film, the first dream, is a foxes’ wedding. During the wedding, a little boy gets caught in the rain and accidently witnesses a foxes’ wedding, which is a forbidden thing to do. Foxes in Japanese folklore are very mysterious, not good, not bad, they’re…in the between. But, since they are viewed as forest spirits or lower deities, human beings are not usually allowed to watch any of their rituals. So, after the boy sees the wedding, he runs home and tells his mother what happened. His mother basically tells him, “You must then commit suicide.” You see, Japanese society is heavily based on ritual, sacrifice, and about not passing certain boundaries. Well, the little boy accidently opens a Pandora ’s Box, even though he doesn’t completely understand what happened since he’s just a little boy. And so his mother tells him he must travel under a rainbow, where the foxes live, so that he can beg for forgiveness. The segment ends as he is approaching the rainbow in a field of Technicolor flowers.

Another influence in my writing is Santeria but I’m Brazilian so it’s Candomblé for me, most of the same Gods just different names.

EA
Brazilians have Santeria?

LB
Yeah, but it’s called Candomblé, which is almost the literal translation. There are many variations of the religion in Brazil, actually, that involve the same gods but no animal sacrifices, for example. But I do have this one poem that’s directly influenced by one of the Santeria gods, Olokun, who’s chained to the ocean floor. He or she –it’s a God so it transcends gender in this case – is such a destructive God that Olokun can’t be released because chaos will be unleashed on Earth. I have a poem that is inspired by that image; about a sailor being chained to the floor; chaos chained to the floor. That is a direct influence and obviously it’s a very Miami thing.

EA
We discussed that you’re open to writing short stories but is there anything else you would find interesting to do with your work?

LB
I would like to write a novel in the future, without a doubt. I don’t think I’m ready at this point in my life but I have a lot of ideas. I would also like to do movie screen plays. I consider myself a film fanatic.

I like stories that question, why are we conditioned to believe certain things? Who decides what is really right or wrong, especially since it varies greatly from culture to culture.

EA
It’s a moral question.

LB
More ethical because it’s not so much as a religious question for me.

EA
Not for you but as far as society, historically it’s morality and then it evolved into ethics.

LB
It’s more like questioning the things I want to do, without rules and without hurting anybody. I’m interested in a sense of freedom.

www.twitter.com/LarissainMiami
www.deriveproject.com

Monday, July 11, 2011

A conversation with Luis Diaz


A Voltron action figure stands sentinel among other toys the display case. It is the Lion Force Voltron and my personal favorite, far better than the vehicles and the gladiators that came afterwards. I can hear the epic theme music that introduced the television series as this mighty robot generated its blazing sword to defeat its enemies and save the day. This small toy brings back old childhood memories of exciting adventures that have been experienced in the intimate confines of my ten year old mind. And as I look around Luis Diaz studio I get that same energy emanating from his work.

For the past decade he has been showcasing his artwork in and around the United States and Canada. A number of his work has been seen in the South Florida area along with publications such as Juxtapoz magazine. He has also created 40 paintings of the new Garbage Pail Kids and Wacky Packages where the influence of thought pieces can be seen in his current series of work. Now he has studio space in the Bakehouse Art Complex in Wynwood, Miami.

I occupy a chair across from his desk, curious about his work.

EA
I see you have a Green Lantern T-shirt on are you excited about the movie coming out this summer?

LD
I don’t know if I’m gonna see the movie at all. I mean, I’ll wait to see if word of mouth is good but I have always been a Green Lantern fan and don’t want the movie to ruin it for me. So right now I probably won’t see it but then... who knows.

EA
So tell me a bit more about your Creatura Series.

LD
Well I just finished the Garbage Pail Kids and somehow still wanted to be working with that same idea. So what I do is bring the image into Photoshop and start to move the image around in different layers. When I’m satisfied with what I’ve done then I print it out. Then I use it as reference on a painting and continue to work with it until I’m satisfied with the results.

I just recently changed the color to the background on this painting. So it’s an ongoing process.

EA
I see that you’re really playing with these images the way you layer and manipulate them. Are the images important or can you see yourself using a different image?

LD
Right now I’m cool with the Garbage Pail Kids but I have used other images before.

EA
Yeah, I saw the Frankenstein Painting that’s hanging in the hall. That one works really well too.

LD
Well there was a client that was interested in buying it but then she changed her mind and wanted another one but with less drips of paint. I wanted to put twice as many drips when she said that.

EA
That’s funny. I know what you mean by that.

LD
I’ve done freelance graphic work for a long time but now I really want to do stuff that I want. I’m very interested in combining fine art with pop art; you know push that line further.

EA
I see you’re doing that with this Creatura Series. It seems more of an exercise in working with the shapes and colors. Do you see these painting as abstractions?

LD
I don’t know about abstractions. I guess they can be seen that way but the images are still important to me so I don’t really see them as an abstraction. I still see a mouth here and an eye there even though it’s juxtaposed and layered. It’s still important that the image remains somewhat intact.

EA
I see how your studio is set up and aside from all the paintings and drawing there are a lot of toys and comic book paraphernalia. I’m curious to know why.

LD
When I was a kid I loved comics and toys like most kids but I still like the feeling they bring back. I see that people really respond to simple shapes and colors and when I use images like the Garbage Pail Kids they become really fun to me. It’s a great way to use pop imagery. There is this thing that has been bothering me a bit that I’ve been trying to get away from and that would be from doing Lowbrow stuff. I don’t want my work to be seen as Lowbrow.

EA
What do you mean? Your work seems to be steeped in the Lowbrow movement especially your past work.

LD
That’s the thing, I don’t want to be in a movement or group of people. Don’t get me wrong I have a lot respect for the Low Brow movement and I can see my past work being up in that group. It’s just that I’m at the point in my life that I want to do my own thing. That’s why I’m really excited about the Creatura Series, it not just about the Garbage Pail Kids but what I’m doing with them.

EA
I see these large blank canvases on the wall what do you plan to do next?

LD
That’s hard to say. I’m thinking about using the same technique I got from the Creatura Series and using it to the type of work I’ve done in the past.

EA
That’s crazy. I can’t even imagine what that would look like.

LD
Neither can I.

www.luisdiazart.com
www.bacfl.org