Creative Global Network for the Visual Arts

MutualArt Art Information Network


MutualArt Art Information Network

This group will serve as a platform for discussion among artists. All members will receive complimentary membership to MutualArt.com, an online art information service. This service will give more artists the resources necessary to learn and grow.

Website: http://www.mutualart.com
Members: 87
Latest Activity: Dec 3, 2014

A Little Taste of MutualArt.com

Discussion Forum

Nueva Las Condes

Started by Alexander Sutulov Aug 1, 2011.

Comment Wall

Add a Comment

You need to be a member of MutualArt Art Information Network to add comments!

Comment by Alexander Sutulov on December 3, 2014 at 1:31

La Mujer Araña

Desde su Laberinto

The SpiderWoman

From her Labyrinth



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 1:25


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 2:20

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:

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.

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:

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.

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

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:

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.


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
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:

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.

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

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.

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 PETIT DELOR on January 23, 2012 at 14:11


Comment by Alexander Sutulov on November 28, 2011 at 21:11

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.


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:


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:

“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:

Comment by Pa Nash on November 18, 2011 at 13:45


Comment by ARTStap International on May 12, 2011 at 2:00


studentsZINE International Magazine for the Contemporary arts would love to invite you to join us at studentsPAD Open Library & Platform for the arts at www.studentspad.com.

Meet other Artists, showcase your work, create blogs, post events, read the latest Issues of studentsZINE, browse the Library and of course add your own texts.


Hope to see you there :)




Comment by Alexander Sutulov on December 15, 2010 at 2:31



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.



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*.


¿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.


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.


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.


Comment by Pa Nash on December 5, 2010 at 13:44
and now for something completely different -
Regards, Pa
Comment by Alexander Sutulov on December 3, 2010 at 18:38

Video Inaugural

Los Andes: columna vertebral de América

GASCO Foundation, Santiago, Chile, 20 de octubre de 2010

Alexander Sutulov: “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.

Inaugural Video

The Andes: Vertical Column of America

GASCO Foundation, Santiago, Chile, October 20th, 2010

Alexander Sutulov: “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.

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.

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.

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.”

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

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.”

¿Cuál es el motivo de la exhibición?

Hugo Marín: “Tiene que ver con la cordillera, con los terremotos, el tsunami y sobre todo tiene que ver con lo que implica la cordillera que es la columna vertebral de América. Es una columna vertebral que tiene este significado, la misma que tenemos y los volcanes que los estamos presentando con la parte de Alexander Sutulov; eso lo que me gusta de la realidad de jugar, dos artistas en relación a lo que es Latinoamérica, lo que es la cordillera de Los Andes, y estos Chacras que son los volcanes. “

What is the exhibition’s motif?

Hugo Marin: "It has to do with the Andes Mountains, with the earthquakes, the Tsunami and above all, it has to do with what the Andes Mountains imply being the vertebral column of America. It's a vertebral column which has this meaning, the same one we have and the volcanoes that we are presenting with Alexander Sutulov's part, which is what I like about reality’s playfulness, two artists in relation to what Latin-America is, what the Andes Mountains are, and this Chacras which are the volcanoes."

¿Cómo se originó esta exposición?

AS: “Bueno en realidad esto tiene un periplo bastante largo, básicamente un diálogo que yo he sostenido con Hugo durante cinco años. Ha sido una reivindicación sobre que es nuestra identidad como país. Desde una cosmovisión que se remonta desde luego, a un pasado precolombino y por otro lado, llevado a la contemporaneidad en términos de lo que una dimensión geofísica.

Había que ser más enfático en entender que lo que realmente nos diferencia realmente del Perú, de Argentina y por ende del resto del mundo. Entonces ahí llegamos a la conclusión de que esta particularidad, esta muralla nuestra que es la cordillera de Los Andes ensimismada en este gran océano que es el Océano Pacífico, entonces estos dos elementos crean este universo que en su inmediatez hablamos de que, hablamos del mejor clima del mundo. Desde esa visión nosotros hacemos este planteamiento de lo que se entiende hoy día con esta exhibición como Los Andes: columna vertebral de América.”

How did the exhibition originate?

AS: "The truth is it has been quite a long journey, basically a dialogue I have sustained with Hugo for the past five years. It has been a revendication about our identity as a country. From a worldview which amounts to a pre-Colombia past and on the other hand, a contemporaneity in terms of a geophysical dimension.

It was necessary to be emphatic in understanding what truly differentiated us from Peru, Argentina and by the same token, from the rest of the world. So there we arrived at the conclusion that this particularity, this wall of ours, which is the Andes Mountains engrossed by this vast ocean that is the Pacific Ocean; this two elements creating a universe which in its immediacy speaks of the best climate in the world. From such vision we make our statement of what is understood today as The Andes: Vertical Column of America."

¿Cómo fue trabajar con Alexander Sutulov?

HM: “Con Alexander que nos conocemos hace 5 años, más, más… casi 8, pero realmente hemos estado cultivando hace 5 años, un diálogo que me había interesado la parte digital. El ha sido para mí un maestro, un profesor que me ha llevado y de alguna manera yo lo invité también a él ha hacer con unos dibujos que yo había hecho con aguadas; él entonces hizo estas dimensiones en color que están aquí que él puso el color y yo le dije tómate la libertad para hacerlo. Entonces, es un encuentro de mundos muy personales, pero ese es el encuentro.”

How was it to work with Alexander Sutulov?

HM: “With Alexander whom we know each other for more than five years, more, more…almost eight, although we have truly been cultivating for five years a dialogue which interested me from a digital point of view. He has been for me a master, a teacher who has guided me and in a way I also invited him to work with some wash drawings I did; in return he made these colorful dimensions which were colored by him and I told him to take the liberty to do whatever he pleased. So, it’s the encounter of two very personal worlds, which makes up that encounter.”

¿Cómo fue trabajar con Hugo Marín?

AS: “Un aspecto más bien universal en que si se hicieron explícita esas diferencias, también descubrimos nuestras empatías. Ahora bien, cuál era el aspecto medular yo te diría el lenguaje gráfico. Es decir, Hugo tiene esa particularidad del artista que tan como escultor es un artista gráfico, porque hay una simbiosis ahí muy importante y eso era lo que a mí me interesaba rescatar con lo que yo quería trabajar. Me atrevería decirte que dentro del escenario más o menos de lo que es nuestro ámbito nacional, para mí era lejos el artista más interesante con quien yo podía colaborar y que había ese ánimo de hacerlo. O sea el tiene ese espíritu generoso de compartir, colaborar y hacer un esfuerzo mancomunado que es lo que tu vez reflejado hoy día.”

How was it to work with Hugo Marin?

AS: “A universal aspect where differences were made explicit, needless to say we also discovered our empathy. So now, what was the core aspect? I would say graphic language. In other words, Hugo has the particularity of being a sculptor as much as a graphic artist because there is a very important symbiosis, which is what I wanted to rescue within the context I intended to work with. I dare to say that within the scenery of our national artistic milieu, for me by far was the most interesting artist with whom I could collaborate and there was the intention to do so. In other words, he has that generous spirit of sharing, collaborating and making the common effort, which is being reflected here today.”

HM: “Los penitentes es un cambio de época, un cambio de cultura un cambio de lo que se está hablando ahora, especulando de lo que sucede el 2012, y una expansión de conciencia; una expansión de conciencia es la que se va acelerando con el tiempo, entonces es decir lo que en algún momento se hablado expansión del universo como dijo Einstein. Entonces, podría ser que ahora lo que se puede plantear es la contracción del universo, lo que estamos hablando de esa parte interesante, especulando por supuesto, porque ya estamos en la imaginación, la fantasía de lo que es, lo que podríamos decir la ficción, la ciencia ficción en este plano.”

HM: "The penitents are a change of époque, a change of culture; a change of what is being spoken nowadays, speculating about what will happen in 2012 together with a consciousness expansion, a consciousness expansion, which is accelerating in time, better said that which has been spoken about as the expansion of the universe according to Einstein. Otherwise, is what today can be observed as the contraction of the universe, speaking of that interesting part, obviously speculating because we are already in the imagination, the fantasy of what is, what could be referred to as fiction, the science fiction on this matter."

¿Cuáles son las virtudes del uso de la tecnología digital para el arte pictórico?

AS: “El soporte digital viene a ser una instancia más dentro de ese proceso de la gráfica, no es algo tan como revolucionario porque resulta que si yo lo veo desde la explicites, porque hay un monitor, porque hay una luz proyectada, porque hay una digitación de una información. No, eso no es lo relevante. Yo creo lo que lo relevante es más bien, en qué medida yo desde un lenguaje gráfico puedo establecer una situación aleatoria, es decir, la suma de las capas de información en el orden que a mí se me antoja, y que la construcción en el fondo iconográfica en este caso, es a partir de esa instancia.”

What are the virtues of applied digital technology in the realm of pictorial art?

AS: “Digital media is one resort more within the context of graphic process; it’s not revolutionary because it’s been observed from its explicitness, like a computer screen, a projected light or information digitalization. No, it’s not relevant. What I believe to be relevant is in which measure from a graphic language standing point of view, I can establish a random situation. In other words, the sum of layers in the order I wish and that the iconographic construction which takes place in this case is part of that same resourcefulness.”

¿Cuál es la respuesta que esperan ustedes del espectador con esta exposición?

AS: “Con Hugo en esta suerte de leitmotiv de buscar nuestra identidad en función una proyección hacia el futuro, vemos claramente como Chile necesita de una imagen, una nueva imagen, una imagen renovada. Y renovada me refiero no porque no va hablar del pasado, justamente va hablar del pasado, pero en esa imagen que se abre hacia un mundo descomunal no es cierto, como el Asia Pacífico, esta gran comunidad que del Asia Pacífico. Bueno que imagen queremos dar como país, como nos queremos proyectar. Entonces este trabajo que estamos haciendo puntualmente viene a dar un poco respuesta a eso.”

What do you expect from the spectators reactions with this exhibition?

AS: “With Hugo in this sort of leitmotif in seeking our identity through a future projection, we clearly realize how Chile requires an image, a new image, a renovated image. Renovated I mean not because it will not speak of the past, it will speak of the past, but through an image which opens itself into a borderless world like the Asian Pacific, this grand Asian Pacific community. Furthermore, what image do we wish to cast as a country, how do we want to view ourselves. Therefore, this work we are specifically in the making is part of our answer.”


Members (85)



My links


© 2022   Created by 4art Media.   Powered by

Links | Badges  |  Report an Issue  |  Terms of Service