Following on from being featured artist at the 2012 Sao Paulo Biennale, Argentinean born Eduardo Stupía, exhibits his first UK solo show – Reinventing Landscape – at Rosenfeld Porcini in London. Known for his extensive use of differen mediums, play on landscapes and contained use of colour, his latest endeavour amalgamates all three strands to produce a body of work serene in nature yet complicated on closer inspection. Better yet, the multi-faceted canvases and paper works form part of a successfully cohesive series to leave viewers with well-fed imaginations and a lasting impression. Here’s the artist himself on his process and works:
Sleek: How has your time in the studio been so far? More specifically, what part of preparing for your latest exhibition has been most challenging?
Eduardo: The funny thing is that the latest pieces I’ve been working on where made away from my own studio in Buenos Aires. In the last few months I’ve been working in San Pablo, Miami, Madrid and London, depending on which fair or exhibition I was participating. Of course, that means a lot of challenges, specially when you think or feel your own studio as this particular intimate territory where you make yourself confident, turbulent and audacious. But also the fact that you discover yourself capable of working everywhere – bringing the spiritual and intangible staff with you, together with the physical materials – makes you much more stronger and independent. I like to see myself as a musician, who takes his instrument with him and plays anywhere and everywhere.
You often use a range of mediums in your work. Which is your favourite to work with at the moment and why?
I wouldn’t choose any medium as better than other because the differences between them are a matter of substance instead of hierarchy. Therefore, I’m driven to take profit of any of those medium whatever its characteristics may be, in equal terms, no matter which medium is. Just like I try to put together a strong counterpoint of graphic elements, the same I do with the intersection and contradiction of the most diverse and antagonistic materials.
Landscapes and your investigation of them are a recurring theme in your work. Can you explain which type of landscape you refer to and why you are drawn to them?
I find myself very much attracted by the tradition of landscape in many of its manifestations. My references are the British and Dutch landscape, the landscape in Chinese and Japanese painting, and also the expressionist landscape. Of course, as it’s apparent, all these influences operate upon my image only indirectly, as a resonance instead of a reference.
What has been the highlight of your career so far?
Undoubtedly, being invited to do a solo exhibition of my works in the latest Sao Paulo Biennale, and also the opportunity to exhibit individually here in London for the first time.
As an artist, what aspect of your profession is the most difficult and challenging? What is the most enjoyable?
The most difficult and challenging aspect is not to become a hostage of one’s own style. And the most enjoyable are precisely the efforts to avoid falling into that trap.
If you had to give one piece of advice to the next generation of artists, something that you know now but not at the start of your career, what would you share?
I’d tell them not to be cynical not only about their own work but also regarding the context. To try to avoid being attached to this certain second gaze which is certainly a symptom in contemporary practices and that consists in an art that is primary devoted to its self-awareness. I would tell them to be devoted to work being faithful to the timing that the own process imposes, instead of running after exterior phenomena, positions or achievements. When I started drawing, I only just wanted to draw. I wouldn’t ever had dream at that time to be or to become and artist. Being an artist was a consequence, rather than a decision.
What are your future plans?
With my gallery in Buenos Aires, Jorge Mara – La Ruche we are going to participate in Art Basel – Hong Kong next may.
Until April 27 at Rosenfeld Porcini, London.