SUSO BASTERRECHEA. Quise ser perfecto, ...

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SUSO BASTERRECHEA. Quise ser perfecto, ...

16/04/2021

Years ago I believed that in simplicity I would find solace, a certain tranquillity in a creative process that was always full of doubts. I soon discovered that this desire to make "solid" things entailed a constant work of restoration. Any defect became more prominent, there was a greater dependence on space or context, as it interfered with my ideal image, and it was also gestated in a slow way when I am a person who needs quick responses. I thought then of the gazelles on the savannah, running in a group to try to throw off their predators. Drawing was the answer, grouping many works together the mistakes could be confused with each other. In my sensibility, paper had the same material value as sculpture, and this strategy of accumulation responded to criteria I already knew from my three-dimensional work.

I stopped being an eternal restorer and now I create a single work, new elements appear, others disappear, but it is an exciting permanent work where everything is always alive. The result is very much adapted to the urgency of my life and, if I may say so, of our own society. Exhibitionally it offers many possibilities and is suitable for conventional spaces, but it can also be used effectively in publications or in the street itself. Although many of its elements are rather hermetic and referential to the art world, there are others that anyone can participate in; crude, acid, political or poetic, they bring me closer to the people, to communication, something that art should reflect on.

As the years go by and I get older, now I think why be a gazelle when I could be a lion, so I lie down in the shade to reflect. I also think that the old axiom "a picture is worth a thousand words" is perhaps a thing of the past...we live in a world of visual saturation.