Marked by its interiority, its universe between dreams, Benjamín García does not show any obsession with perfects lines, contrary to this, he let flows his graph brushes on his canvas. This Venezuelan artist, with only 27 years old, has focused on translating “the diffuse and disjointed” from his dream and otherness between different levels of representation, and has achieved an aesthetic that it is separated from the classical and onnects with avant-garde.
This language, pictorially violent, happened from experimenting with illustration and animation, and suddenly has led him to create a unique image within in which the value of a chaotic, but very structured composition, deliberate mix color and the interiority of his characters between combined realities, constitute the leitmotif of the work of Benjamín.
The painting, in addition to producing a total aesthetic pleasure for those who appreciates art, stands as a mass media. The painting builds itself as the message between artist and viewer, hence Benjamin Garcia has devoted some of his time to Panamerican World in an exclusive interview to answer the following questions and explore his consciousness.
How did you interest in the visual arts was born in a country that has not given special importance to this area so far?
I do not think the plastic art in Venezuela is not particularly important, I think the culture in general do not have a real importance and visual arts in this country. The country does not makes you, your obssessions do so…
It is common to find in your pieces female portraits with blurred lines. Could you explain what the main intention as an artist to use this type of stroke, and tell us how your background has influenced your work .
I think what I’m trying to reflect is an aesthetic transition between the conscious and the unconscious. In my dreams, I can never focus my attention on more than one item at a time and sometimes it’s all fuzzy and disjointed, I want my paintings were a bit of a window into that state.
On your website – www.beng.art.com – you declare that your work is influenced by comic artists, however there is a clear oniric intention in your artistic pieces. How important is it for you to capture the psychology of your characters in your work?
Comic artists I cite here have a job that is characterized by especially dream. Moebius, for example, came to collect volumes with hundreds of pages of comics to improvise on the fly, and thus try to understand their own unconscious motivations. That job is called Inside Moebius, that was the last thing publishedbefore he died.
I try to capture my own psychology using as a baseline the face of another person or a pictorial collage of several faces or animals. Although I’m probably reflecting the psychology of both the subject and mine … and perhaps the viewer .
What is your assessment of the arts scene in Venezuela ? Specifically in the area to develop your work.
I personally know few Venezuelan painters, and 3 or 4 that I know they are older than 60. I think that here in Venezuela the great curators and collectors, plus some intellectuals, have a very fixed idea of art and painting in particular, have it as an even valid for the respectable old and some exceptions like Starsky Brines or Enay Ferrer whose painterly work is appreciated but not relevant for young people who may use more modern and conceptual languages. I think that’s why the need of new artists who want to paint and develop personal work towards the figurative, not so much create bland landscapes Ávila or hyper realistic paintings of fruit, but his instinct to dump a personal aesthetic idea, which is decanted into graffiti and illustration, leaving enough space empty paint.
What will be your next steps in the world of art? Any new aesthetic approaches, new exhibits, new frontiers?
At the moment I am developing 3 works for an exhibition in New York and I ‘m organizing everything to study a master in fine arts in Toronto. While trying to finish a short film that I left on standby last year.