Page 25 - Fernando Sinaga. Ideas K

at the service of those who attempt to pass it off as a mere transcription of ideas, an illustration or simply beauty. Ultimately it seems to me that what is most decisive is to remain faithful to the very indomitable nature of art and to its essential disobedience vis-à-vis any other interest. This means that in art we must allow a radical and absolute stripping down that distances itself, in order to establish a difference. Art is not a codified ready and prepared language that is learned in schools and imitated or reproduced according to a pre-established script.
It is therefore through sculpture that I have attempted to describe the internal qualities of each type of matter and for this purpose I have eroded them physically, seeking their brilliance, their shadows, their oxidisation, furrowing their surfaces so that they change when the viewer changes place; I have provoked superficial chemical reactions; and above all I have used the simultaneous contrast of materials to modify visually their mass, weight and colour, as matter is never the same when confronted with or superimposed on another kind of matter. I have attempted to create a physical, tactile and visual order aimed at modifying the perception we have of the real from immaterial elements that come from my imaginary. As you can see, there is a certain animist awareness in my work and a certain amount of “leaving things to take their own form”. A dialectic on the soul and body of sculpture.
GM Could it be said, in practical terms, that the laws of life, of nature, are equiva- lent to the development of your ideas through science or technology? Has this always been important to you?
FS As I was saying, in the end things find their place, as the results are situated within a context and are also the consequence of a confluence of external factors, as we live within broader cycles that cause the different realities to be ordered by impulses, thoughts and circumstances that are only catalysed in art. Technique and technology are instruments that can channel many of these forces, and using these means we can give shape to works that were unthinkable fifteen years ago, works that are full of scien- tific thought and wide-ranging technical research, means without which today’s art would not exist. These new materials are therefore the result
of scientific knowledge and the forms we are producing will in some way change our perception of the world and the nature of things. Artificial life is also advancing within art and its progressive presence shows us how the world we live in has changed. Even so, I don’t believe in forms of progress
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