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Comment by Alexander Sutulov on December 3, 2014 at 0:21

La Mujer Araña

Desde su Laberinto

The SpiderWoman

From her Labyrinth

WALMER DISEÑO

+

Instalaciones @ Murales @ Grabados

Atelier Alexander Sutulov

Los invitamos desde el mundo donde se tejen las ideas,

Como se conjugan arte y diseño

en una vivencia única e irrepetible

From the world where ideas are been knitted,

we invite you in how art and design

conjugate in a unique and unrepeatable experience

Comment by Alexander Sutulov on May 16, 2013 at 1:19

MOSSO Life

Con la magia del bosque

La propuesta del artista Alexander Sutulov cautiva por esa capacidad única de fundir el espíritude la naturaleza con técnicas tradicionales y digitales, hasta obtener sublimes obras que buscan envolver y ser escenario de quienes las observan.

With the forest’s magic

Artist Alexander Sutulov proposal captivates for his unique capability to merge natures spirit with traditional techniques, as much as digital ones; to the point of achieving sublime works of art which pursue to embrace in such a way they become the observer’s scenery.

Comment by Alexander Sutulov on March 20, 2012 at 2:18






When I ask a client if they have a work of art:

How do they realize it’s an actual artwork?

Answers can be of the most varied, in part because they identified with what the work transmits masterfully, like the color of a landscape. You will also discover more pragmatic approaches which are understood as the works added value being the reflection of an intrinsic value associated to genuine artistic value beyond personal taste.

All answers are valid, particularly when it comes to personal perceptions which establish empathy in time with a growing and enriching artistic expression. Nevertheless, my answer is that there is something beyond the above which relates with the artwork transcendence. In other words, when an artistic manifestation in the form of a painting, sculpture or print appropriates a space and the spectator incorporates such experience, never again that person will be the same one before…

Perplex to my observation, their immediate reply is why? Something to which I respond that the usual praxis is the habit of observing artworks is through the appreciation of its formal elements in line of its objectivity, but when an authentic work of art transcends within the spectator, it’s because its message is beyond formality.

Thus, it’s the moment when a work of art begins to observe back at you!  

      



Understanding the generic definition of painting as a coloured drawing, digital painting in contrast to all form of traditional painting can be characterized in two singular aspects. The first one, taken from the model of indirect method, establishes a particular process of additive and subtractive relationships through the superimposition and interaction of multiple layers subject not only to the phenomena of reflected light, such is the case of traditional veil painting, but also projected light. On the other hand, the aleatoric nature of digital process involves by definition, the use of second generation image. This fusion of a pictorial work through a concept of indirect method and graphic work through the use of second generation images opens a new field of visual exploration where its versatility has predetermined in the last decades, a creative pool of exponential growth.


The images above illustrate a basic methodology of how to begin understanding the fundamentals of digital painting as an image building process. In its initial phase, the artist has created a series of mixed media drawings on polycarbonate film specially formulated to be receptive to a wide range of drawing materials such as: graphite, charcoal, prisma color, rubbing ink, India ink, Tusche ink, litho crayon and any form of pigment and vehicle which reacts to the hydroscopic qualities inherent to the granulation of the mentioned substrate.    
The monochromatic images or original drawings on the top left have been divided in two genres. The first two columns are washes where depending on the viscosity of its vehicle, the pigment will reticulate in different patterns. From the old traditions of continuous tone lithography, Tusche ink (high density pigment ink) has been the trademark of many artists in how to achieve various forms of textures and tectonic qualities. The same way we can observe above, the difference between a lacquer thinner wash and turpentine wash with alcohol applications. In contrast, the right hand columns exemplify subtractive techniques with charcoal drawing and #1-#7calibrated litho crayon halftone drawing.


In the lower portion, we observe the same drawings which have been digitalized in quadtone modality where the artist assigns to each channel a specific chromatic and tonal value. Understanding the nature of digital work with millions of colours the possibilities are infinite. In order to schematize the process, the artist divides tonal scale in four areas, shadows or low tones, lower halftones, higher halftones and highlights. By curvature effect each tonal area of the image is assigned to a specific value. In this preliminary stage of digital colorations, the artist’s decisions are somehow predetermined by the additive and subtractive relationships which will take place later on.
 

The final image on the right hand side or B.A.T., abbreviation taken from the French expression: “bon-à-tirer” meaning: “right to print” is an example when all four drawings have been superimposed and interacted by layers. The multiple relationships of layer interaction which can be established in addition to the use of mask, filters and tonal modulation constitutes the true potential creativity inherent to the use of second generation images. 




GASCO Energy Sculpture / Santiago, Chile 2000:

In
virtue of GASCO corporate building remodeling located at Santo Domingo
Street Nº 1061 at the hands of Izquierdo Lehmann Architects back in
1999, the company’s board commissioned a sculpture allusive to the
energy by man in his quest to survival.


The
river stone bed is a metaphor to the energy contained by Earth’s
natural resources, the steel legs are man’s intervention and the marble
sphere represents pure energy.

 




TERRITORIA 3000 Cultural Project / Santiago, Chile 2006:

In
virtue of new business centers realized for Santiago as a future
financial capital in Latin America, Territoria real-estate commissioned
project proposal which contemplated the buildings cultural impact
amongst its neighboring edifications projected in front of Peru Square,
known as Territoria 3.000.


The
project proposal contemplated 8 double sided free hanging murals where
each module was 9.60 mt in height and 4.80 mt across. Outside the
building’s perimeter, 8 sculptures were projected with 4 in the
buildings front façade and 4 totemic figures in its east side courtyard.



Chile Borderland / Philippi Museum / Valdivia, Chile 2008

The
works which are part of the Museum Philippi collection correspond to
morphological studies of Chilean landscape titled “Chile Borderland”.
The specific artist interest to exhibit at a regional natural history
museum was the possibility of creating an event to promote and amplify
the country’s identity.






Spirits of the Mind Mural / Santiago College / Santiago, Chile 2012:

With
the moving of Santiago College School to its new campus at Los
Trapenses, it became imperative the creation of an allegoric artwork
capable of captivating the alma mater of the original school campus. For
these purpose a large scale mural was thought-out to be installed at
the new Dining Hall. The iconographic proposal was based on an
architectural survey of the old campus combined with a landscape
morphological study of the new campus location at La Dehesa Valley whose
distinctive landmark is the Manquehue Hill.

 

The
above is closely related to Guillermo Rosende’s master plan, the school
design architect where the orientation and shape of more than 10
buildings which constitute the new campus, are in relation and
proportion to the surrounding landscape.






History of Chilean Mining Mural / Concepción, Chile 2005:

In commemoration of Chilean Large Mining Bicentennial (1905 – 2005), the mural was inaugurated at the Metallurgical Engineering new building. Mural project sponsored by Chilean Mining Bureau, CODELCO’s El Teniente Division and the University of Concepción. 




The Andes: Vertical Column of America / Santiago, Chile 2010

Part of the artist studio informative work at a public level, is the creation of exhibiting projects which allow contextualizing the artwork within different spaces accessible to the urban pedestrian. The above includes installations which in the case of the work in reference, it was realized with the collaboration of Chilean artist, Hugo Marín.








Franco Ballotta Design Project / Parque Arauco, Santiago, Chile
One
of the main challenges with Franco Ballotta men’s store was to discover
a unifying element between the design of menswear tradition and a
historical past whose distinctive trademark was Italian design clothes.
The main icon was a mural with the equestrian portrait of Marcus
Aurelius the Roman governor, Pompey. So much the store’s front window,
exhibition furniture and store logo were all based on Roman Republican
funeral architecture.




Saint George Mural Project, Isidora Building 1999:


Equestrian
apology where central image corresponds to s XIII Novgorod’s Saint
George flanked by Marcus Aurelius triumphant entries and Durer
anatomical equestrian studies. In the upper section in the form of a
continuous frieze, the general composition is crowned by a procession of
Teutonic Knights.


Together
with the mural, Bolivian Mahogany hardwood board of director’s chair
was designed, the same wood utilized for the mural’s framework.   




Casa Irina Mural Project / Curaumilla, Chile 2008

The work in collaboration with architects, designers, landscapers, etc. is a crucial aspect in order to conceive large format work for residential or more private spaces. In the case of Casa Irina, the project was realized in coordination with the owner; architect Andrés Zauschkevich, where the house’s landscape morphological surrounding had an important role in the design of the mural. The image was worked in 12 different stages, being the latter one use as the final image for the mural.




El Golf & Nueva Las Condes district office remodelling

Understanding
the new quality standards in the real state sector characterized by
Class A buildings, the mounting and emplacement of artwork have an added
value at the moment of implementing exclusive designs different from
more conventional framing. Amongst the different challenges, none
polycarbonate or glass protection frames were made with large format
prints. The main objective was to emphasize the velvety surface inherent
to Intaglio.


The
new proposal for office space is in coordination with Iván Ojeda from
FIC Constructions whose clientele is characterized by the office space
in reference.






Atelier Alexander Sutulov Limited Editions

Small format serial work together with serial work on paper in general, is subject to a more intimate approach from the spectator’s perspective. The more delicate character associated to printmaking halftones for example, makes graphic work highly descriptive. The artist studio not only emphasizes on the above, but also, all curatorial work regarding edition printing, anywhere from its documentation like the emission of authenticity certificates describing the works genesis all the way to its final presentation with elegant artist design portfolios.





 Atelier Alexander Sutulov Editorial Projects

Taking into account the studio’s graphic work, editorial projects designed by the artist are a complement where additionally an iconographic research work is developed which speaks of for example, the richness of different historical periods in the world of art. That’s how in the book devoted to the cult of the Sacred Heart, author María Loreto Marín Estevez: “A Spring of Love & Mercy: The Heart of Christ”, is a compendium of more than 500 color pages where not only historical Christian Art iconography is being rescued, but also, they are being visually contextualize in accordance to the book’s conceptual overview.

Comment by Alexander Sutulov on November 28, 2011 at 21:01


registro fotográfico montaje Edificio Neruda, Nueva Las Condes, 19 de noviembre de 2011

Tierra Pacífica” / Serie Los Andes: columna vertebral de América
Tinta Ultrachrome sobre tela (2.40 x 8.00 mt)

Estudio morfológico de la Cordillera de Los Andes donde se aprecia en su macizo central, el Cerro el Plomo y sus formaciones colindantes que circunscriben el valle de Santiago del Nuevo Extremo. Hacia el frente, se pueden apreciar formaciones rocosas que caracterizan el litoral central, propias de una geografía accidentada cuyas capas tectónicas son de origen volcánico. En el centro de ambas composiciones surgen ondulaciones con aguadas de Tusche (pigmento de alta densidad) que sugieren de manera inusitada el Océano Pacífico. Lo anterior nos hace reflexionar sobre la prehistoria geofísica de Chile, donde el valle central fue en algún momento parte del océano.



montaje mural Tierra Pacífica / Edificio Neruda

Pacific Land” / The Andes: Vertical Column of America Series
Ultrachrome ink on museum canvas (2.40 x 8.00mt)

The Andes Mountains morphological study where in its central view, El Plomo summit can be recognized and its surrounding mountain range encompassing the valley of Santiago del Nuevo Extremo. In the foreground, rock formations can be observed which identify Chilean central coast line inherent to dramatic landform whose tectonic layers are of volcanic origin. In the middle of both compositions, Tusche water washes undulations make reference to the Pacific Ocean. The previous is a reflection upon prehistoric Chilean geography, where at one point in time, the central valley was part of the ocean.

Tierra Volcánica” / Serie Los Andes: columna vertebral de América
Tinta Ultrachrome sobre tela (2.40 x 8.00 mt)   

Visión apologética del mundo Andino como una cultura volcánica. Si bien la actividad volcánica se extiende a lo largo de toda la Cordillera de Los Andes, la singularidad de Chile está en primer lugar por su número de volcanes, más de 2.900 de los cuales 80 de ellos están activos. Junto con lo anterior, el gran número de volcanes están ensimismados sobre un abismo que es el Océano Pacífico, cuya cuenca está prácticamente en su totalidad bañada por la corriente de Humboldt. Lo descrito hace que Chile tenga una temperatura específica baja en una cantidad extraordinaria de latitudes. Consecuentemente, es la razón principal de por qué nuestro país tiene uno de los mejores climas del mundo.



montaje mural Tierra Volcánica / Edificio Neruda

Volcanic Land” / The Andes: Vertical Column of America Series
Ultrachrome ink on museum canvas (2.40 x 8.00mt)

Apologetic vision of the Andean World in the form of a volcanic culture. Although volcanic activity constitutes great part of The Andes mountain range, the particularity of Chile is in the first place, the number of volcanoes, more than 2.900 where 80 of them are currently active. Together with the above, a great number of volcanoes are absorbed by the Pacific Ocean Rim abyss, whose basin is practically in its totality washed by the Humboldt Current. The described, allows Chile a low specific temperature throughout an extraordinary amount of latitudes. Consequently, it’s the principal reason why the country has one of the best climates in the world.    



Vista Nueva Las Condes 

Los murales anteriormente descritos creados por el artista chileno, Alexander Sutulov, tienen como propósito introducir un nuevo concepto de instalaciones permanentes para espacios públicos tanto institucionales como corporativos. En el caso específico de Nueva Las Condes, el artista tiene un especial interés dado su unicidad como espacio urbano. En una publicación reciente en Visual Artbeat Magazine, una publicación especializada en arte en Salzburgo, Alexander Sutulov da cuenta sobre el futuro que le depara a la ciudad de Santiago como capital financiera en Latinoamérica y lo importante que resulta entender el posicionamiento de Chile frente el mundo. En este sentido, gran parte de su obra ha estado dedicada precisamente a la identidad de nuestro país y su implementación en espacios estratégicos. Frente lo anterior, el artista resume el complejo de edificios corporativos en Nueva Las Condes  como la respuesta más coherente al nuevo paradigma; lo cual invita y posibilita exhibir obras que no solamente hablan sobre nuestra identidad, sino además, se proyectan con fuerza hacia un futuro que singulariza a Chile como una estrella en el Hemisferio Sur.

The described murals created by Chilean Artist, Alexander Sutulov are part of a new concept of public permanent installations for corporate and institutional entities. In the specific case of Nueva Las Condes financial district, the artist has a special interest considering its urban planning uniqueness. At a recent art magazine publication in Salzburg, Visual Artbeat Magazine; Alexander Sutulov writes about the future of Santiago as a financial capital for Latin-America and the importance of understanding Chile’s positioning vis-à-vis the rest of the world. In this respect, great part of his work has been precisely dedicated to Chile’s identity and its implementation for strategic public spaces. All things considered, the artist resumes the business center building complex in Nueva Las Condes, as the new paradigm’s most coherent respond; which in return, invites and makes possible exhibiting artwork which not only speaks of our identity as a whole, but also, projects itself with a singularizing force where Chile emerges as a bright new star in the Southern Hemisphere.




EDICION CHILE BICENTENARIO 2010
LOS ANDES: COLUMNA VERTEBRAL DE AMERICA

Como una manera de hacer accesible al público los murales recientemente instalados: Tierra Pacífica y Tierra Volcánica de la serie Los Andes: columna vertebral de América en el Edificio Neruda, Nueva Las Condes, Santiago, Chile; Atelier Alexander Sutulov ofrece, de manera exclusiva, ediciones suite de ambas obras que conmemoran el Bicentenario de Chile 2010 con las siguinetes especificaciones:



 CHILE BICENTENNIAL EDITION 2010
THE ANDES: VERTICAL COLUMN OF AMERICA

To make more accessible to the general public the recently installed murals: Pacific Land & Volcanic Land from The Andes: Vertical Column of America Series at the Neruda Building in Nueva Las Condes, Santiago, Chile; Atelier Alexander Sutulov offers an exclusive closed edition suite of both works commemorating Chile’s 2010 Bicentennial with the following specifications:




 




“Tierra Pacífica” & “Tierra Volcánica” / Serie Los Andes: columna vertebral de América

Impresión                           : Tintas UltraChrome K3 negro matte / filtro UV
Sustrato                             : cartulina calidad museo Entrada Rag Natural 300g
Dimensiones Papel              : 16,5cm x 38cm c/u
Dimensiones Imagen           : 11cm x 36cm c/u
Marcas                               : número de edición, título, cuño y firma del artista
Edición                               : 40 pruebas de artista, 210 ejemplares enumerados de 1/210 – 210/210
Portafolio                           : cartulina murillo rotulada + cinta tricolor
Interior                              : hoja de separación + certificado de autenticidad

*Para mayore información, puede contactar el artista en el siguiente correo:
sutulov@vtr.net 


“Pacific Land” & “Volcanic Land” / The Andes: Vertical Column of America Series

Printing                             : UltraChrome K3 matte black inks / UV filter
Substrate                           : museum quality paper Entrada Rag Natural 300g
Paper Size                          : 16,5cm x 38cm each
Image Size                         : 11cm x 36cm each
Paper Marks                       : edition number, title, artist chop and signature
Edition                               : 40 artist proofs, 210 edition proofs enumerated from 1/210 – 210/210
Portafolio                           : Murillo portfolio cover + tricolor ribbon
Interior                              : separation sheet + certificate of authenticity
       
*For further inquiry, you may contact the artist at the following e-mail:
sutulov@vtr.net 

Comment by Beate Gördes on August 8, 2011 at 21:16

 

100-days-of-art www-100-tage-kunst.de

Events & dates

We invite women artists of the world to celebrate with us a very special anniversary and to participate by submitting 1 piece of art (painting, graphic, photography, filmstill, videostill,

photo of 1 art work, installation or sculpture).

 

1. Virtual gallery in the internet

All images/all pictures will be published in internet and will be shown with all submissions along with all exhibited pieces at the „Semper Verde“ exhibition in a digital format in December and January 2012 at the “Frauenmuseum” in Bonn/Germany.

 

1. Exhibition:

2.10.2011 - 9.10.2011

Ballhaus“ Kaiserswerther Straße 390

40474 Düsseldorf

Opening 2.10.2011 17 p.m.

 

3. Event: The invitation to flashmob will be announced at a later date and the complete film will be available on our website after the event. The flashmob will start at 1.10.11 5 p.m.

 

Contact:

1 digital picture (max. 200 KB) for the virtual gallery

Please send to: info@100-tage-kunst.de

The virtual gallery will be seen in the internet on:

www.100-Tage-Kunst.de

 

1 original art work or photo/copy size: A4 please send to:

100-Tage-Kunst“

Böhler-Werke

Hansa-Allee-321

40549 Düsseldorf /Germany

 

Please mark all of your work with title, material, size, name, address, including country, e-mail, phone & website. All submitted art will be returned after the event. Please include self-adressed postage prepaid envelope, you can get it by www.deutschepost.de/efiliale or www.postofficeshop.de

All copyright reserved to the original submitting artist.

Deadline: 2.10.2011

Comment by Alexander Sutulov on December 15, 2010 at 2:21

ALEXANDER SUTULOV

ARTE TRASCENDENTE

Que la obra de arte que observe el espectador, lo envuelva y recree su imaginación de tal forma que nunca vuelva a ser el mismo. Eso es lo que este artista busca provocar con sus obras.

Reconocido artista gráfico chileno, formado en el Instituto de Arte Contemporáneo en Santiago y con estudios posteriores en el College of Fine Arts de la Universidad de Utah en Estados Unidos, Alexander Sutulov (Concepción 1962) ha tenido una trayectoria variadísima. Desde sus inicios en escultura en cerámica, porcelana, madera, metal y gres, luego experimentó y perfeccionó distintas técnicas de grabado, como intaglio, serigrafía, litografía y monotipo. Como artista gráfico, continuó su trabajo en distintas técnicas de arte digital, y produce sus primeros murales digitales. Desde entonces, ha expuesto en forma individual y colectiva no sólo en Chile, sino también en Argentina, Australia, Canadá, China, Estados Unidos, Inglaterra, Italia, México, Japón, Taiwán, República Dominicana, Sudáfrica, Corea, Eslovenia, Polonia e India.

Desde octubre su inspiración seduce a los santiaguinos con una muestra extraordinaria junto al artista Hugo Marín. En “Los Andes: columna vertebral de América”, Sutulov despliega obras bidimensionales en grandes formatos y una bullente paleta cromática para dar vida a su visión del país, manifestada en su opinión por medio de una cultura volcánica, en un diálogo visual con las obras de Marín, centrando en un interés común por la geografía de Chile y su huella en el hombre que habita el territorio.

ALEXANDER SUTULOV

TRASCENDENTAL ART

When the work of art is observed by the spectator, it will enclose and recreate their imagination in such a way that they will never be the same person ever again. It’s what this artist seeks to provoke with his work.

Renowned Chilean graphic artist, trained at the Contemporary Art Institute in Santiago and continued his studies at the College of Fine Arts at the University of Utah, USA, Alexander Sutulov (Concepcion 1962) has had a vast career. From his beginnings with ceramic, porcelain, wood, metal and stoneware, soon after experimented and perfectionized different printmaking techniques such as intaglio, silkscreen, lithography, and monotype. As a graphic artist he continued his work with different digital art techniques, producing his first digital murals. Since then, he has exhibited individually and collectively not only in Chile, but also in Argentina, Australia, Canada, China, United States, England, Italy, Mexico, Japan, Taiwan, Dominican Republic, South Africa, Korea, Slovenia, Poland and India.

Starting from October, his inspiration has seduced the city of Santiago with an extraordinary show together with artist Hugo Marin. In “The Andes: Vertical Column of America”, Sutulov showcases large format two dimensional works with an outlandish chromatic palette giving life to his envision of Chile which is manifested in his view through a volcanic culture, a visual dialogue with the works of Hugo Marin, centered in a common interest for Chilean geography and man’s trace of its inhabitants.

¿Cuál es el concepto y mensajes que guían la exposición que actualmente estás presentando en la Sala Gasco?

Nuestro mensaje con Hugo es la reivindicación de nuestra identidad como cultura de un mundo andino que trasciende desde la óptica del mestizaje. Tradiciones gravitantes como la escuela cuzqueña y quiteña respectivamente, dan ejemplo contundente como ese mundo profundamente espiritual trasciende hasta el día de hoy. A diferencia de Europa que se seculariza precipitadamente a partir del siglo XIX, en el nuevo mundo se hace permeable la mística de dos culturas que hoy está en nosotros redescubrir.

What is the concept and message which guide the exhibit you are currently presenting at GASCO Gallery?

Our message with Hugo is the revindication of our identity as an Andean World culture which transcends from our mixed ancestry point of view. Gravitating traditions such as the Cuzco School and Quito School respectively, give clear example how a deeply spiritual world transcends to our days. Different from Europe which became rapidly secularized beginning XIX century, in the New World becomes more permeable the mysticism of two cultures which today is in our hands to rediscover.

De las obras expuestas ahora en "Los Andes, Columna Vertebral de América”, ¿hay alguna que sea más representativa para ti?

Sin lugar a dudas las dos obras murales, “Tierra Volcánica” y “Tierra Pacífica” constituyen un paradigma de todo lo anterior. Son una especie de manifiesto a la gráfica por un lado y luego en su contenido, representa una suerte de ilación morfológica de nuestra identidad como país de ultramar.

Out of the works exhibited today with “The Andes: Vertical Column of America”, is there a piece which you feel more representative?

In no doubt the two mural works, “Volcanic Land” and “Pacific Land” constitute a paradigm of all the previous. They are a sort of manifest to the world of graphics on one hand and in its content, represent a sort of morphological thread of our identity as a maritime nation.

¿Cuáles son los principales materiales y soportes para tus obras?

Mi obra se centra principalmente en obras gráficas de gran formato siendo el papel de 100% algodón y telas de calidad museal especialmente formuladas para impresiones de alta calidad digital. Todo lo anterior es constituyente en concebir obras gráficas a gran escala para emplazamientos públicos permanentes. Es a partir de este precepto, la idea de proyectar el muralismo como un medio para dar rienda suelta a un lenguaje visual altamente descriptivo como la gráfica que se fundamenta en el uso de imagen de segunda generación*.

What are the principal materials and substrates used in your artwork?

My work is principally centered in large format graphic works being 100% rag paper and museum quality canvas the prime source for a high quality digital printing. All of the above to conceive large scale graphic works for public permanent installations. It’s from this precept, the idea of projecting mural art as a means of letting go a highly descriptive visual language like the graphics associated to the use of second generation images*.

LIBRE ALBEDRIO

¿Cuál es tu principal fuente de inspiración para tu trabajo?

Mi principal fuente de inspiración es el “libre albedrío”. Me parece extraordinario que como seres humanos tenemos la característica única que se llama voluntad y poder de decisión. Me intriga profundamente la enorme responsabilidad que ello acarrea frente el resto de la existencia. Un cuerpo celeste, una estrella no toma decisiones propias, simplemente su vida se rige por las leyes del universo que maximiza su entropía. Un animal no decide si va cazar tal o cual presa en consideración de terceros, básicamente sigue sus instintos de sobrevivencia. El Arte es una manifestación profundamente humana cuyo motor, poder de creación está supeditado a nuestra voluntad.

FREE WILL

What is your works main source of inspiration?

My main source of inspiration is “free will”. I think it’s extraordinary that we as human beings have a unique characteristic known as will and power of choice. I am profoundly intrigued by the responsibility it conveys in front of the rest of our existence. A celestial body, a star doesn’t make its own decisions; it simply follows the natural laws of the universe which maximizes its entropy. An animal doesn’t decide whether it’s going to hunt that or such prey in consideration of a third party, it basically follows his instincts of survival. Art is a profoundly human manifestation whose driving force, power of creation is relinquished to our will.

¿Qué te gustaría que el público experimentara al observar tus obras?

Algo que ha permanecido en mi retina desde mi infancia cuando jugaba frente el épico mural de González Camarena, “Presencia de América Latina” en la Pinacoteca de la Universidad de Concepción. Es decir, un universo que envuelve y recrea la imaginación del espectador de tal manera, que una vez incorporada la experiencia, nunca más vuelve a ser la misma persona. En cierta medida vendría a ser el valor ontológico de la obra de arte; una manifestación plástica que permite al observador trascender el momento que está viviendo. Lo que Gauguin definía acerca de la pintura como la manifestación artística más completa desde el momento que en un solo plano visual está contenido el pasado, el presente y el futuro.

What you like for your public to experiment at the moment of contemplating your work?

Something which has remained in the back of my retina since my childhood when I played in front of Gonzalez Camarena’s epic mural “Presence of Latin-America” at the University of Concepcion Fine Art Museum. Better said, a universe which encloses and recreates the spectators imagination in such a way that once the experience has been incorporated, never again that person will be the same. In a way it would be the ontological value of a work of art, an artistic manifestation which allows the spectator to transcend the moment she or he is living. What Gauguin referred too about painting like the most complete artistic manifestation from the moment the past, the present and the future are self contained in one visual plane.

De todas las técnicas que has utilizado durante tu trayectoria, ¿con cuál es la que te sientes más cómodo?

Toda técnica responde a un hilo conductor genérico, lo cual va singularizando a un artista a lo largo de su trayectoria. En el caso mío, el trabajar en forma tridimensional o bidimensional, como también, sumergir mis manos en arcilla o trabajar en multimedia; es una invitación a entender de qué manera ese lenguaje propio se acomoda a esa experiencia. Es más, lo que a veces pudiese haber resultado como una técnica en primeras instancias ajena, distante a la modalidad de trabajo imperante; de pronto resulta el descubrimiento de una faceta que no era tan evidente. Recuerdo cuando empecé a trabajar años atrás con porcelana sobre cuerpos de gres, descubriendo que generaba una superficie formidable para técnicas de grafiti que simulaban la incisión de una plancha como sería en el caso del grabado en metal.

Out of all medium you have worked with, which one makes you feel more comfortable?

All medium respond to a generic common thread which in return singularizes the artist throughout his career. In my case, working three dimensionally or two dimensionally likewise submerging my hands into clay or working multimedia; is an invitation to understand how one’s own language accommodates to that experience. Furthermore, what could of resulted an unknown medium, far away from a current working modality; all of the sudden turns out to be a facet which wasn`t so evident in the first place. Reminds me when I was working years ago with porcelain over a stoneware body, discovering it made an extraordinary surface for graffiti technique similar to the incision of a plate such is the case for intaglio.
¿Crees que el público está más sensible a las diferentes manifestaciones del arte visual?

Claramente nos estamos moviendo masivamente a un lenguaje cada vez más visual. Ejemplo de ello es Internet donde recabar información es un acto cada vez más visual a cambio de un lenguaje escrito. Sin embargo, se ha producido un enorme daño con la masificación y homologación de culturas donde se tiende a confundir el arte aplicado con el arte plástico. Por ejemplo, hoy vemos una serie de “obras de arte” en emplazamientos públicos que son en la realidad objetos de diseño. Es decir, su comportamiento es comparable a un llavero u objeto utilitario sobre dimensionado. En el contexto de lo anterior, no hay que perder de vista un aspecto esencial en el arte plástico que debe ser impredecible versus lo predecible en el caso del arte aplicado como el mundo del diseño.

Do you think the public is more sensitive to all the different visual art manifestations?

Clearly we are moving at a massive level to an ever more visual language. Example of that is the Internet where information search is each time more visual rather than a written one. Nevertheless, a great damage has been produced with the massiveness and streamlining of cultures where applied arts tend to get confused with fine art. For example, today we see a series of “works of art” for permanent public installations which in reality are basically objects of design. In other words, its behavior is comparable to an oversize key holder or utilitarian object. In the context of the above, one mustn’t lose track of an essential aspect to fine arts which is its unpredictability versus to the predictability in the case of applied arts like the world of design.

De todas las exposiciones que has realizado durante tu trabajo, ¿hay alguna que tenga un significado más especial?

Si bien no ha sido la más grande o compleja en términos itinerantes, la exhibición actual cobra especial significado ya que representa el advenimiento de una nueva era donde nosotros los artistas tenemos una enorme responsabilidad. La experiencia colaborativa con Hugo ha sido de enorme importancia en una especie de herencia en vida frente la cual debo mantener un legado.

(*) Término que se utiliza en la jerga gráfica cuando la impresión de una estampa es producto de dos o más planchas o matrices antes de la imagen final. Adicionalmente, se entiende que el soporte digital es un medio que incorpora por su naturaleza aleatoria, una noción o disciplina en el uso de imagen de segunda generación.

REVISTA MOSSO LIFE N10 / DICIEMBRE 2010

Out of all the exhibitions you have realized in your career, is there one with a more special meaning?

If clearly it hasn’t been my biggest or most complex in terms of a travelling show, the current one carries a special meaning which represents the advent of a new era where us artist have a tremendous responsibility. The collaborative experience with Hugo is of great importance in a sort of living will from which I require to maintain a legacy.

(*) Graphic jargon utilized when the impression of a print is the product of two or more plates or printing blocks have been involved before a final image. Additionally, it’s understood that working digitally, is a media which incorporates do to its random nature, a notion or discipline in the use of second generation images.

MOSSO LIFE MAGAZINE N10 / DECEMBER 2010

Comment by MediamaticTravel on December 8, 2010 at 14:38
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Comment by Alexander Sutulov on October 30, 2010 at 22:04

Hoy día celebramos junto a Hugo de manera muy especial lo que ha sido un largo periplo asociado al mundo gráfico. Digo largo porque si pensamos por un momento cual fue el primer grabado o relieve plasmado por el ser humano, tendríamos que remontarnos al hombre rupestre quien untando su mano en pigmento dejó la primera huella en la pared de una caverna haciendo de ese acto un sentido de autoría e identidad. Muchas veces nos asombramos cuando pensamos en aquellos bisontes estilizados de Lascaux o Altamira. Pese a ello, poco pensamos en aquella impresión de nuestra mano que la acompaña y condice el artífice de ese gesto o línea estilizada.

Today in a very special manner, we are celebrating together with Hugo what has been a long journey associated to the world of printmaking. I mean long because if we think for a moment, what first print or relief was stamped by a human being, we would necessarily have to go back to the caveman who anointing his hand in pigment left the first trace of a human hand on a cavern’s wall and by that act, gave a sense of authorship and identity. Many times we feel astonished when we remind ourselves of Lascaux’s or Altamira’s stylized bison’s, and yet little we think in the imprint of our hand which accompanies and reiterates the artifice of such gesture or stylized line.

Es esa misma laboriosidad donde se reitera una forma, un patrón que da origen a una matriz o plantilla, es lo que permite descubrir la forma dentro de la forma. Si bien las distintas disciplinas de la plástica tienen una dimensión formal que las difiere una de otras, también resulta igualmente cautivante descubrir sus relaciones. No debemos sorprendernos cuando descubrimos que un buen escultor es inevitablemente un buen grabador. Digo inevitable, porque si no fuese un buen grabador, no podría ser un buen escultor. Suena redundante, sin embargo, cuando entendemos una matriz o plantilla como un elemento de resistencia donde el artista ejecuta una incisión para lograr una forma de relieve, está efectivamente esculpiendo.

It’s that same laboriousness where form is reiterated, a pattern which gives birth to a matrix or printing block, is what allows us to discover the form within the form. Although different artistic disciplines have a formal dimension which differ one from the other, also results equally captivating to discover its similarities. We shouldn’t be surprised when we realize a good sculptor is unavoidably a good printmaker, I mean unavoidably because if he weren’t a good printmaker, he could never be a good sculptor. Sounds redundant, nevertheless when we understand a matrix or printing block as an element of resistance where the artist must execute an incision in order to obtain a relief, he is effectively sculpting.

Ahora bien, ¿de qué manera se relaciona lo anterior con la presente muestra?

Primero que nada ustedes podrán ser testigos de cómo la colaboración artística es un aspecto fundamental a la hora de potenciar una manifestación que en primeras instancias no es tan evidente. ¡Si lo fuera, creo que nosotros los artistas, no seríamos necesarios!

So now, in which way does the above relate to the current show?

First of all you will witness how artistic collaboration is a fundamental aspect at the moment of heightening a manifestation which in its first instances isn’t so evident, if it were, us artist wouldn’t be necessary!

Ese guiño que nos hace la naturaleza es una especie de seducción pero pierdan cuidado, no es gratuita. Nos obliga con el sudor de la frente persistir en algo que pareciera imposible, sin embargo, en el momento menos pensado se abre una brecha donde podemos ver la luz, aquello que en las palabras de San Agustín lo entendía como “la sombra de Dios”.

Nature’s wink is a form of seduction but make no mistake, it’s never out of gratuity. We are obliged with the sweat of our foreheads, to persist in something which appears to be impossible, and yet, in the least expected moment a breach is reached where we can see the light. Something of which in the words of Saint Augustine understood as: “God’s shadow”.

Los caminos que elegimos con Hugo fueron muy distintos, distintas épocas, distintas generaciones. El lenguaje que nos une es uno solo de tal manera que nuestro encuentro fortuito fue una cuestión de tiempo en reconocer las distintas señales, las empatías que permiten aunar esfuerzos. En cierta medida es un acto de generosidad. Desprenderse del propio ego y dar cabida a una tercera forma que hoy día se materializa en esta exhibición.

Nuestra búsqueda incesante nos llevó a pueblos, países lejanos, absorbiendo las tradiciones y costumbres que en muchos casos, no eran comunes a nuestra idiosincrasia. Todo ello enigmáticamente, para volver y dar cuenta nuevamente con el lugar que nos vio nacer.

The roads we chose with Hugo were very different, different époques, different generations. The language which unifies us is only one; it was only a matter of time where our fortuitous encounter allowed recognizing a set of signals, empathies which permeate common efforts. In a certain way it’s an act of generosity. Letting go one’s own ego in order to bring forward a third form, which today has been materialized in the current exhibition.

Our ceaseless search took us to faraway people, countries; absorbing traditions and lifestyles which in many cases were not common to our idiosyncrasy. Enigmatically altogether, to return and come to terms with the place which saw us born.

Desde ahí surge la primera interrogante en descifrar:

¿Cuál es ese apego magnético que nos vuelve adictos?, incluso en la manifestación de nuestra obra inspirado en un pasado precolombino, en una morfología atingente al paisaje chileno, la fisionomía arraigada a una cultura o simplemente la huella de la historia que surgieron sobre otras historias.

Todo lo anterior tenía validez y coherencia, sin embargo, existía algo más profundo que como la huella untada en pigmento nos difería del resto del mundo. Fuimos peregrinos de tierras extranjeras que más que descubrir nuevos horizontes, nos permitió con el tiempo darnos cuenta más bien las diferencias que permitían entender de manera más cabal la unicidad que nos asignaban en el confín del mundo.

From there on raises the first interrogation to decipher:

What is that magnetic attachment which makes us addictive?, including the manifestation of our work inspired by a pre-Columbian past, a morphology relative to Chilean landscape, the physiognomy rooted in a given culture or simply put, the trace of history which emerged on top of other histories.

All of the above proved to be truthful and coherent, and yet, something more profound existed like the anointed hand in pigment which made us different from the rest of the world. We were pilgrims of foreign lands which more than discovering new horizons, it allowed us with time to become more aware about our differences and understand in a more assertive way the uniqueness in which we are confined to the world’s borderland.

Donde la tierra comienza y donde la tierra termina pareciera un umbral de predestinación.

Una fuerza telúrica que nos hace recordar la fugacidad de la vida. Regalos prodigiosos aunados por el abismo de un mundo cordillerano y un mundo oceánico que lo sumerge en las profundidades de sus entrañas.

Where the land ends and where the land begins appeared to be a threshold of predestination.

A telluric force which reminds us of life’s none apprehensible fugacity. Prodigious gifts united by the abyss of a mountain range and oceanic world submerged in the depths of its most inner core.

Para muchos quizás, un inconveniente esta estreches territorial que nos obliga mantenernos en un mismo eje. Entonces, las interrogantes prosiguieron al pensar porqué tenemos el mejor clima del mundo que nos permite una variedad infinita de cultivos. Latitudes cuya variante térmica es marginal comparado con otras latitudes similares del mundo.

Maybe for many an inconvenient, this long-stretch land which forces to keep ourselves on the same axis. Therefore, our questioning continued while thinking as to how we have the best climate in the world encompassing an infinite variety of cultivated goods. Latitudes whose thermal variations are marginal compared to other latitudes in the world.

¿Será producto de lo que muchos consideran un inconveniente?

Como sortear las más de 7.000 islas que comprenden el archipiélago para internarnos en la selva fría o más bien, el dramatismo que nos presenta el desierto más árido del mundo con sus infinitas matizaciones cromáticas. El mar frío que a muchos no quiere bañar cuya riqueza de moluscos, peses, cetáceos, flora y fauna marina es inagotable, o será los inconvenientes escarpados que de pronto y tardíamente, dejan caer la luz del alba cortando como largas espadas un entumecido valle central o son aquellos ojos de la tierra que irrumpen con lenguas de fuego dejando caer sus cenizas sin contemplación; si puede que haya sido para muchos de nosotros un inconveniente, una tragedia humana como nuestro último terremoto y tsunami, un capricho despiadado para los habitantes de Chaitén.

Could it be the result out of what many consider an inconvenient?

Like the archipelago’s 7.000 islands one requires to dodge while penetrating its cold rain forest or even better, the dramatic landscape presented by the driest desert in the world with its infinite chromatic nuances. The cold sea to whom many relinquishes to bath where its richness of mollusk, fish, cetaceous, marine flora and fauna is inexhaustible, or could it be the inconvenient steeps which suddenly and latterly let go dawns light cutting like long swords a numb central valley; or could it be those earthly eyes which burst in fire tongues spreading there ashes without contemplation; yes maybe it has been an inconvenient for many of us, a human tragedy like our latest earthquake and tsunami, a merciless caprice for the inhabitants of Chaiten.

Y si no fuera por todo lo anterior

¿Podría existir el país que nos acoge?

Si no fuera por el accidente geográfico que nos caracteriza ¿Podría existir el Chile cuprífero y toda su riqueza mineral? ¿Podrían existir las más de veinte especies de árboles nativos al interior de la selva fría que no existen en el resto del mundo?

And if it weren’t for all of the above

Could the country which shelters us exist?

If it weren’t for the geographic accident which characterizes us, could the cupriferous Chile and its mineral richness exist? Could the cold rain forest with more than 20 native tree species which do not grow elsewhere in the world exist?

Bien venido fue el nombre de la corriente que nos hace recordar el extraordinario naturalista Alexander von Humboldt que de manera prodigiosa anticipo frente un mundo acelerado como la Revolución Industrial, “el exotismo de América”. Pero el exotismo no viene necesariamente a dar cita por su rareza, distinto al viejo continente que desde luego lo era en muchos aspectos, es más bien una visión de entender nuestro continente como portador de un futuro que conlleva claves estratégicas sobre el destino del mundo y su hábitat.

Welcome the name of the current which reminds us of the extraordinary naturalist Alexander von Humboldt who prodigiously anticipated in view of an accelerated world like the Industrial Revolution, “the exoticism of America”. But the exoticism doesn’t come necessarily from citing its rarity different to the old continent which in no doubt it was in many ways, but rather a vision of understanding our continent as the bearer of a future which incubates strategic keys about the worlds and its habitat destiny.

Alexander von Humboldt no estaba ajeno a las complejidades que implicarían la depredación del mundo ante la modernidad y la extinción de sus recursos no renovables. Como también entendía que las culturas que emergieron de esas tierras no eran producto de lo circunstancial, había una razón de ser, un propósito profundamente arraigado a esas tierras; un camino del Inca que guiaba hacia El Dorado.

Alexander von Humboldt was not foreign to the complexities implicated through the world’s depredation up against modernity and the extinction of its nonrenewable resources. Like he also understood the different cultures which emerged from that land were not circumstantial. There was a purpose of being, a profound, deeply rooted sense; an Inca trail which guided to El Dorado

Hoy día advertimos su veracidad como ha trascendido una riqueza que no solamente la constituye una dimensión geofísica, sino además, algo tan significativo como una riqueza humana que en su mestizaje nos presenta lo mejor de dos mundos.

Today we advert its veracity in how its richness has transcended not only from a geophysical point of view, but also, something so significant like its human richness where out of a mixed ancestry presents the better of two worlds.

Es por eso que estamos aquí, ahora en este momento para celebrar nuestra identidad, nuestras raíces que se han mezclado de manera única y está en nosotros tener la voluntad y generosidad de descubrirla.

It is why we are here, now in this moment to celebrate our identity, our roots which have mixed in a unique way and it’s in our own will and generosity to discover them.

Son señales del advenimiento de una nueva era, es la voluntad recientemente expresada por nuestro pueblo originario, es el milagro de los mineros que iluminaron el mundo entero, es la celebración inequívoca de nuestro bicentenario.

Signals of the advent of a new era, it’s the will recently expressed by our Native Americans, it’s the miner’s miracle which illuminated the whole world, it`s our unequivocal bicentennial celebration.

Agradeciendo una vez más su presencia junto con nuestros más sinceros agradecimientos a quienes nos acogieron en este magnífico y noble edificio, les digo desde lo más profundo de mi corazón:

Viva los mineros

Viva los pueblos originarios

Viva el bicentenario

¡Y VIVA CHILE!

Gracias

Discurso Inaugural Alexander Sutulov

Exhibición: “Los Andes: columna vertebral de América

Fundación GASCO

Santiago, Chile

20 de octubre de 2010

Once again appreciative of your presence and our most sincere gratitude to who have hosted us in this magnificent and noble building, I say to all of you from the bottom of my heart:

Long live the miners

Long live Native Americans

Long live the Bicentenary

AND LONG LIVE CHILE!

Thank you

Alexander Sutulov Inaugural Speech

The Andes: Vertical Column of America” Exhibition

GASCO Foundation

Santiago, Chile

October 20th 2010

Comment by Andrey Soldatenko on November 13, 2009 at 10:12
Hello everybody! now I'm with you
Comment by Petra on October 1, 2009 at 14:59
Re-imagining October at the Calvert22
Curated by Mark Nash and Isaac Julien 2 October – 6 December 2009
Private View tonight the 1st of October
22 Calvert Avenue, London E2 7JP

Founded by Russian art collector and economist Nonna Materkova, Calvert22 presents three curated exhibitions each year, with the aim of promoting Russia and Eastern Europe’s rich contemporary art culture.
 

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