Page 21 - Fernando Sinaga. Ideas K

gences. In the end, it seemed that my scattered training was being attenuated instead of aggravated.
GM The “experience of discontinuity”, a recurring theme in your work, becomes evident, above all, in the treatment of the surface as a meeting place.
FS I should stress that, despite the experience I have just quoted, my reality
was quite different at the time, as the incorporation and transfer of a plastic experience like the one I have just mentioned to an artist like me, trained in painting, deeply Brâncușian and symbolic and with a strong concern for the educational system of the artistic avant-gardes, did not seem to have much of a chance of prospering, as there were too many branches and no trunk to unify so many divergences. Only years later did I realise, on reading Anton Ehrenzweig, that this discontinuity and unfolding of possibilities is one of the symptoms of creative disorder before it becomes an order that allows you to develop an interconnected imaginal system. A situation that no doubt held back my directional force, but nevertheless afforded me an open transver- sality. To Ehrenzweig, that was one of the primary characteristics of the creative system.
I should confess, however, that this initial dispersion of interests triggered a certain insecurity and instability in me, as I couldn’t see continuity in anything I started on, because when I viewed all these interests as a whole I had
the impression that they were still unconnected with each other. It was like multiple schizophrenia, as things drifted in a direction that was sometimes as arbitrary as it was capricious and took on a form without any apparent coher- ence. As you know, the answer to this dilemma came around the year 1985, precisely when Juan José Gómez Molina invited you to come to Salamanca to give a lecture at our Faculty and we met. A meeting that was undoubtedly fortunate, as it was the origin of later conversations that have now converged into Ideas K.
As for your question about discontinuity, as a sort of theory of “leaps” it explains quite well the transversal form adopted by my life and my work. My artistic work has been a place of convergences. A fusion of states, which finally find in sculpture a manner of explaining a dissemination of meanings. I should explain that the discontinuity you refer to, as something that is located between the perception of form and the surface as skin, has its answer in the tactile, more than in the pictorial. The tactile was something that did not go down well with orthodox minimalism, as it turned the spectator’s attention to detail and that manner of attaching too much importance to the surface and
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