We have interviewed more than 100 artists. Soon in the Artists Database.
Katrina Biurrun is a multidisciplinary artist who creates all kinds of artworks; most of her production is based on performance acts. In this case, part of the Installation-object was made as a healing process. She is not worried about ageing or changes related to the natural process. She was aware of some possible situations; that was the reason for introducing some replaces such as a new bulb and several text copies. For her, everything has a meaning and disrupting the concept is deterioration. The primary definition of degradation for her is the piece not being exhibited. In her words, if the artwork does not interact with the public, the piece does not exist.
The conversation was conducted to establish a series of strategies for preventive conservation. In this interview, Katrina Biurrun defines what is deterioration for her, describes her creative process and enumerates all the materials part of the installation. The conversation is available HERE. This is an edited transcription in Spanish. If you need a translation, please contact us.
Jorge Julve's conversation with Ruth del Fresno-Guillem happened in May 2014. The main goal was to establish a series of strategies for the conservation of his work. He is concerned about the evolution of the painting. He was concerned before the interview, using high-quality materials. His definition of the concept of deterioration is related to any change or physical problems. He understands conservation from a traditional point of view.
In this conversation, we talked about materials, installation, conservation and concepts. You can read the edited version of the interview HERE. the original document is in Spanish. If you are interested in a translation, please contact us.
In 2014 We had an interesting conversation with the artist Beatriz Pellés. The aim for this interview was to establish a series of protocols to prevent any damage to her piece Ejercicio de Blanqueado a drawing made with wood on top of sanding paper. During the interview Beatriz talked about her creative process and the materials she uses. She is not worry about the possibility of vanishing of the piece, because she is aware of the extreme fragility. In this conversation she defines her concept for the idea of deterioration and we agreed on some strategies. In terms of the interview, this is not the best interview we can do. The interviewer, me, talks too much. It is better to allow silence to happen, and if the artist doesn't ask we shouldn't give advise.
This is an example of a not well-conducted interview. I am posting this interview to show models of interviews that could be better done. In this case, the interviewer (Ruth del Fresno-Guillem) talks too much. You will find a non-edited document HERE, for you to read. The original interview is in Spanish, if you need a translation, please contact us.
Maria Prada's conversation was part of the Ph.D. research about the use of the interview for preventive conservation. This interview is one of the first interviews we conducted. It is an example of a lot of things NOT to do in a conversation with an artist. Maria is kind and generous, and she collaborated well. The idea of deterioration for Maria is related to something more physics-based, although she is concerned about the concept of the installation. She understands conservation and the strategies, but she doesn't have a clear idea about what she wants. We agreed that doubt is a parameter. This interview is also proof of the importance of awareness.
The interview happened in April 2014. the original conversation occurred in Spanish, and HERE you can find an edited transcription. We decided to edit this conversation because there were long innecessary explanations. Nonetheless, some crucial mistakes form the interviewer haven't been removed. We believe that by showing this interview, the researcher will learn to avoid these mistakes. Maria Prada was very generous.
The conversation between Manuela Rodríguez and Ruth del Fresno-Guillem happened in April 2014. It was an interview to establish strategies for the preventive conservation of her short animation piece Sementes do Corazón. During the conversation, Manuela declared that she was aware of obsolescence, but she did not know how to approach the problem. She does not want any deterioration from esthetic issues to sound and definition. She considers a big deterioration problem if the animation is presented soundless or in a different proportion. She would like to be involved in the conservation process decision and be part of any intervention. The interview helped Manuela to be aware of some conservation issues she never thought, and she confirms the importance of this process.