Page 39 - Fernando Sinaga. Ideas K

phenomenological but comes from having been capable of introducing the poetic in space and time in order to create a final image that absents itself from reality.
GM Your works are not only designed to be seen as such... they provoke spatial behaviours. How would you like the spectator to behave?
FS To me a work should not only awaken the viewer’s visual or spatial experi- ence. It doesn’t consist in developing a phenomenology of perception or a display of language only. The work of art should take us to a phenomenol- ogy that attempts to subvert the visible, as what we see is not what is real. Behind the images are other images, and flat phenomenologies of the what you see is what you see kind are of no use to me. Images enclose words and words images. As for the reception of the work, I always hope that spectators, converted into consumers, will suddenly awaken when art snaps its fingers and discover that they are immersed in the unfathomable experience of contemplating the world. I am Lacanian, I only look at what looks at me.
GM What about the work La estructura ha perdido su function (Structure Has Lost its Function), 1985. Is it the end of one stage and the beginning of another? To what extent?
FS The passage of time allows me to see things more calmly; a distant gaze, no longer so involved, allows me a broader discourse on what has happened, for, each artist is largely a sleepwalker. El desayuno alemán and La estructura ha perdido su function are works imbued with a vision steeped in feelings in flight, sorts of early premonitions of the change things were going to experi- ence. Let’s say that both are images of transformation.
GM Has your work changed over the years?
FS One of the main appeals of art is seeing how it grows without a previous plan,
without a preconceived idea. As you go along. That is what most astonishes me about its uncontrollable and overflowing nature; it always gets ahead,
as it possesses something precocious and you never really know how it can have been produced without a script. I usually let myself be carried away by the internal movement of artistic thought which is not an intellectual thought. If you situate yourself there, change is the condition in which you live.
GM In your recent writing Brâncuși-Serra, you give a magnificent account of what you call ”the labyrinth of influences”. What is yours?
FS Deep down the essay you refer to on Brâncuși-Serra is a declaration of intent on a matter that is central and decisive to understanding the creative process
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