fascinate me and I would like to do my own research in that area in combination with failures and eternal dystopian alternatives. Another thing that I would love to do is to go to Paul McCarthy's studio in LA to learn there for a few months. I consider his work very inspiring and it is one of the few artists still alive that I see as the biggest of all time. Next to his work I am also impressed by the way he and his son manage the large studio with a lot of good craftsmen as employees. I think you can compare the way they work to a film production studio with two directors in charge. In addition to my own practice I am active with my artist run space in The Hague. It is called Moose Space and it focuses on young emerging artists that graduated between one and five years ago. It's nice to work with artists that are in the same stadium as I am and to add a stage for experimental presentations of fine arts. It is a place where I welcome different types of audience, a lot of artists and art students are coming here, but also neighbours, homeless people and the alderman. The artists that are selected are working independently on the preparation of a show, without external curating to stimulate the self-support. I like to see some developments in the work I did since graduation. Where it started as a totally fictional world that I created as a sort King of the Gods, I now see more openings outside of that world, which gives me a lot more freedom. In my last video 'Elevator', in addition to staged performance, I used subtle cuts from YouTube, as well as own recordings on the street and in public buildings like a hospital. It feels like I am discovering more ingredients to get a better taste. I work on a continous philosophy that is built on fragments that are partly true and partly made up to understand and add to the world.
With captivating imagery and inventiveness, An artistic point of view is an effective mix of surreal atmospheres and audacious storytelling, capable of walking the viewers through a multilayered visual experience. Hello Maria and welcome to Women Cinemakers: let’s start our conversation with a little introduction from you. What is your background? Please ell us what brought you into the world of contemporary art and what addressed your artistic trajectory. In the world of contemporary art, of course, I had the desire to express myself through the most appropriate language, that of the painting I wanted and I think, I have largely succeeded in restoring it in order to overcome the limits of the definition of this meets An interview by Bonnie Curtis and Jennifer Rozt Druhn Maria Gall art As an art of two-dimensional excellence, and open by three dimensional process new territories of artistic investigation. I refer here in particular to the threedimensional painting I created between 1999 and 2000, when realizing it seemed to be impossible once the painting resembled a colorful surface no matter how the color applied to the substrate. I wanted so much that the key element of painting - the color - would be free itself from any surface, whether bi or tridimensional, and any ingredient mixed in the paste, and I wanted so much that the color paste took a three-dimensional shape as a volume in itself Space and the color of their own shapes to form the painting that, behold, by doing these things in an unprecedented way, we have come into the world of contemporary art following this path. Lives and works in Bucharest, Romania
If the stain - the color paste had to play the only role in creating painting without cloth, cardboard, paper, frame, chassis or other accessories unnecessary to painting, then the next step was to the sculpture, another dear field in which the sculpture endowed as a robot With light, motion, sound, sensors, etc. But with a primary shape that retains only vague identification markers of the real model, attempts to interpret, take on the role of the actor in the scene, thus coming out of the exhibition hall. In short, I could answer with one word to this question: passion brought me into contemporary art, the joy of creating. We would address our readers to visit https://vimeo.com/user6153141 to get a wider idea about your artistic production, that ranges from filmmaking to animation, from illustration and sound design, revealing that you are a versatile artist capable of crossing from different areas: how do you select a particular media to express the idea of a project? By transfer. Artistic language, in my opinion, is common to all arts. Whether we are talking about painting, sculpture, cinema, dancing, etc. I think all artistic fields are based on the same language, but each field uses specific transferable terms that you can easily identify, adapt and use if you are an artist from one domain to another. It's like translating a French sentence into, for example, English. It sounds
different words, but the translated sentence has the same meaning, the same meaning if the translator does his job well. For this special edition of Women Cinemakers we have selected An artistic point of view, an interesting project that our readers have already started to get to know in the introductory pages of this article. What has at once captured our attention of this work is the way you provided the visual results of your analysis with autonomous aesthetics: when walking our readers through the genesis of this captivating project, would you tell us what were some of your aesthetic decisions? I have to confess that "An artistic point of view" is my first film, that when I realized it, I did not think I made a film production - that I wanted to make a movie - I want to create a picture of my pictorial and sculptural creation through filmmaking, which I could not achieve by means of exposure to art galleries without the payment of fees that go beyond my material possibilities for the exhibition space and for transporting the works so The offers received for exhibitions by museums and very good galleries remained in van as long as in my country the sponsorship of artists was and is a lost cause. interview
Therefore, relinquishing resignation to the idea of exhibiting my creation, I turned to explore the cinematic potential for its presentation, using the same aesthetic principles used in the plastic art that we adapted using as a pause between the visual images the texts Explaining that in the mute movie to emphasize and accentuate the double text-to-image informative message. I don't like to reproduce anything in painting or sculpture, nor to tell. I think, for example, states like pain or joy, exaltation or ecstasy, etc. , Which you want to transmit to the receiver, give them the more intense the reason you do not tell them the cause or the reason these conditions have occurred, concentrating on the aesthetic means through which you can induce that pure state in all its intensity. Essentially, not the cause, but the effect matters. As in painting, a painted flower does not smell like a natural flower, does not have that softness to touch, we do not find the space of the natural habitat, can't live and transmits in other words with the same intensity its primordial creative state so the solution in my concept Is to create an equivalent to foreign means of its nature with the means of our fingerprinting by the flower if you want to get to the essence of the flower.
interviewGood artists, changing dates to achieve their purpose, create something other than a flower that impresses as much as the flower of nature. The first part of An artistic point of view shows what you think your sculpture MUST be and not what they want others to see: artists always vary in the importance placed on communicating their own visions without limitation or question and the emphasis and importance placed on the audience, and how it can and will relate to them. How do you feel when people interpret your artwork inversely, or is there one primary thing you hope to have the viewer experience? It has never happened to me to interpret my painting and sculptural creation differently from what I wanted it to convey. In fact, at the foundation of my painting there is no concept. The concept is only its construction - the basis is that this painting proposes and creates another way of painting, and this leaves no room for erroneous interpretations. If this happens somehow in the movie that presents my work, it means I did not put the room inside the painting, I did not present my creation as it actually does through the film's specific means, it means I did not find the key
The common language, as I would have liked, that we didn't find the common means of expression because my painting allows the exhibition hall to enter inside it, to circulate among the stains, offering what I missed in the picture, and the sculpture My reaction reaches what she wants in front of an "obstacle" always different depending on the aggression exercised over her, forcing the receiver to perceive and not to interpret. Your works convey a captivating abstract feeling: how do you view the concepts of the real and the imagined playing out within your works? Let us refer strictly to the terms: abstract, real, imaginary. Abstract is a completely inappropriate term for my painting and sculpture that does not juggle with concepts. My painting is the most radical painting, because the essence of the painting is the color spot it uses exclusively, eliminating all unnecessary painting accessories such as canvas, cardboard, chassis, nails, frames, etc. The respective color spots are made only of dry paste of different three-dimensional shapes and of different structures that are supported in the air without incorporating other materials inside them and which construct the overall shape of the painting through which the receiver can pass to them , To look at them from any point. They impose the show through light, color, shape, structure, space, size, without claiming an interpretation of what they are. I define only a new world of color in which you penetrate and from which you come out feeling that you have gone through a world from which you came sad, cheerful, frightened etc. , Depending on the color, shapes and brightness ranges used. This painting is real, as real as it can only be that the color isn't placed on any surface, whether bi or three-dimensional, but stays in the air and forces you to pass through the color schemes and trajectories bypassing them or stopping by focusing In the internal space of painting by composition. My sculpture is minimalist, not abstract, but on the contrary. Consisting of primary shapes - spheres, ovoid, plus a few accessories that suggest the real world they want to represent - accessories suggestive of the identity of the being to which we refer, eggs in different stages of hatching, birds, etc. In addition, on the principle of form-fitting form, it is equipped with complex mechanisms designed to anime in order to interpret its role. Here, here comes the fictional imaginary term. To play a role, sculpture plays an imaginary story in a real or built-in scenario like the actor in the movie or theater. But the story remains just a pretext.
Reminding us of V ra Chytilová's work's work, your artistic production in the field of animation is marked out with a personal style: who are, if any, some of your chief influences from contemporary scene? My professional training is strictly in the field of fine arts finalized with a doctorate in plastic and decorative arts. Otherwise, I am, I recognize a self-taught and debutant, above all, in cinematography. Maybe here comes the personal style you are talking about talking about animation, without being able to talk about the influences of the contemporary scene in this unexplored field enough for me. I can only talk about the desire to make a movie from a set of photos that I made on a holiday and which happened to happen in my mind on an idea, and in order to establish their connection they imposed a Processing the data as I experienced at the moment. Your visual vocabulary has a very ambivalent visual quality. How do you view the concepts of the real and the imagined playing out within your works? How would you define the relationship between abstraction and representation in your practice? I adapt my means of expression from one artistic field to another by translating them from a real plan into another real plan that belongs to the aesthetic reality. Passing through the foliage of several trees with the same cadence of steps will you notice differences in density, flavor, temperature, scratches - abstract signs? On your arm and face, the color differences - even beyond the season. Separating sensations and signs, they seem abstract but unifying them to reality. We have really appreciated the vibrancy of thoughtful nuances of your pieces, that are often marked out with intense tones, capable of creating tension and dynamics. How did you come about settling on your color palette? And how much does your own psychological makeup determine the nuances of tones you decide to use in a piece? At the risk of repeating myself, I assert that all the arts use the same language through which you express an idea. I don't use the color palette. The colors of my painting are dry paste that evolves freely in space as it happens in dance, music, etc. Having their own shape, a serious or acute tone, their own optical movement - my color spots juggle with the receiver like the word in a sentence: put it there in the grammatical form that
is needed; Such as the repetition of a ballet movement - a spot you find more attenuated or more acute in another place of painting if you take a few steps, such as a higher or worse sound in the music. A color is warmer or cooler, lighter or darker depending on the meaning you attribute to the general context... Everything in the arts is limited to image, movement, weight, gravity, sound, and some other terms common to all arts and used by artists to speak as expressively as possible. We want to catch this occasion to ask you to express your view on the future of women in cinema. For more than half a century women have been discouraged from getting behind the camera, however in the last decades there are signs that something is changing. What's your view on the future of women in cinema? In particular, do you think that your being a woman provides your artistic research with some special value? The future of women in the cinema as well as the future of women in all other artistic fields seems to be a metallic gate that is still difficult to solve by itself but easily opened by the accumulation of forces, their taking over, their
processing and transformation into essences. As far as I'm concerned, I no longer care about the future if we only refer to career here, but what is the greatest weight in my vision is the value of the art that they produce. I wish that the value in art-referring to the quality of the artistic act-to impose either that the artistic act is created by a man or a woman, and the barriers to failure do not fall on value but on incompetence. Thanks for your time and thought, Maria. We wish you all the best with your filmmaker career! What's next for Maria Gall? I thank you for the attention you have given me! It's only six months since I decided to address this area seriously, and I'm trying to get around with a 15- year-old PC and a phone, but that's not the biggest impediment, but the fact that I'm afraid of myself, as I said before, to make the transfer of language data from the world of fine arts into that of convinced cinema, as it will be a great advantage: I think I will make my own debut with the movie I'm working on At present and which will be called "Time and Percentages of Love". I also want you - successful successes of quality, value and perseverance - the keys to excellence. An interview by Bonnie Curtis and Jennifer Rozt Druhn