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Interview with Daniel Pešta – It’s LIQUID

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Dan-21Luca Curci talks with artist Daniel Pešta about his art, his presence in Venice for the Venice Art Biennale 2015 and his long collaboration with the organization It’s LIQUID.

Daniel Pešta was born in 1959 in Prague. A graduate of the Václav Hollar School of Art, he spent the totalitarian years existing outside of official cultural circles. His primary focus was on drawings, and he worked as a graphic artist. After returning from his first study trip to New York in 1998, he begins to experiment with a diverse range of materials such as paper, wax, leather, and transparent resin.

Such tactile material enabled him to penetrate even deeper into the complicated nature of the human soul. These works balance on the boundary of naturalist rawness; they touch on the most sensitive subjects such as the birth of life and its destruction – they get to the core of human essence.

Pešta gradually transforms the portrait into a mask-like expression, which he views as a symbol of affectation and anonymity. For Pešta, the mask becomes the central motif in his conceptual projects as well as in his original works of video art. His videos speak in a clear language, without supplementary historical information. Daniel Pešta is what is called a multimedia artist. He refuses to limit himself to just one medium, but steadfastly experiments across the full spectrum of expressive tools, through which all our senses come together.

Can you talk about the different artworks you exhibited in Venice?

I exhibit a cycle of 22 assemblages entitled “Nocturnal Head Records” within the project “Personal Structures” on the second floor of Palazzo Bembo. In this cycle I interpret the experience of my own unconsciousness during the sleeping process. Together with this series I present a concept of two wax objects and one large-sized painting that are in a mutual dialogue about humanity, religion and science. In my authorial video-arts that I present within It’s LIQUID organization, I a dealing with the theme of xenophobia and racial discrimination and with the human obsession with one’s own power.

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In Ca’ Zanardi and Venice Art House, you are taking part with your videos in the first event of SELF festival. What do you think about It’s LIQUID events’ whole organization, artists’ selection and the communication management?

The SELF festival belongs among the projects that can be ranked among the “new wave” of unrestrained avant-garde. The choice of artists is transparent, without prejudices or calculations. Originality and talent are the only criteria. It’s LIQUID’s communication is open to everything up-to-date or innovative, yet without compromising with the quality of artworks.

What are you currently working on?

Currently I am staring to concentrate again in my atelier, after very demanding installations in Venice. I am finishing a diptych of two large-scale paintings of weightiness and lightness and at the same time I am preparing for a cycle of paintings on the theme of “Schools”. This problematic is a long-term interest of mine, because it is exactly the childhood when one is the most manipulated and vulnerable, prone to distorting or misleading information and influences that might have fatal personal consequences in the future. I am also about to shoot three new video-arts that I would like to present by the end of this year, I have elaborated a large conceptual project about the inevitability of female destiny and I would like to continue the work on some wax objects.

Can you talk about your long collaboration with It’s LIQUID and Luca Curci director?

I cooperate with It’s LIQUID since its beginning. It seems to me that I have known Luca Curci whole my life. Luca is a very spontaneous person, full of fiery passion. To me, he resembles to a volcano that floods everything that surrounds him by its creative energy. Our cooperation is always based on mutual confidence; he is very open and demanding.

More at www.danielpesta.com.

 


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