20 December 2010

Entrevista: En La Cama con...Nuria Meseguer. / Interview: In Bed with...Nuria Meseguer


Interview by Bebi Pérez de Luis (http://www.comprarte-online.com/) 
ENTREVISTA EN ESPAÑOL,

IN BED WITH...NURIA MESEGUER (by Bebi Pérez de Luis)
Nuria Meseguer interview is a great honor for me, is like a Christmas gift. An unexpected and exciting gift. I read her interview over five times and each time I read, I learn something. I do not fit into this intro all the awards, exhibitions and awards she have, she is simply "Great." It's a great artist, but her words, always kind and loving toward me, without knowing personally, make it even better. Is admirable, magnificent ... with an overwhelming personality. Tender and generous, humble, something that I think sometimes you lose when you're so important, but Nuria continues to be a woman close to others, unpretentious, without vanity, that makes it even better. Her work is an hecatomb of color, realism, emotions, her paintings fascinate me. But my dear Nuria you fascinate me even more as a person.

Thanks Nuria Meseguer for giving me the greatest gift of Christmas 2010 as we celebrate with you. Thank you for trusting me at "comprArte-online", and teach me many things, good, as you can have many awards, well deserved, and it can still be a great person, that's part of your work.
It's been a great pleasure to be in bed with ... Nuria Meseguer. HAPPY HOLIDAYS!

1.How Meseguer Nuria discovers that have artistic talent?


Ease of art does not mean talent. I believe that great works are framed at the end of life, which are overflowing with emotions that have made us feel different experiences. I'm still a long way to that ...

I do not remember a time when i discovered the art, was part of everyday life. When I was a child my father began to study Fine Arts. He left me a free hand in his workshop, and my favorite toys ended up being everything that could stain and color.

At school I remember my first sale, a copy of Donald Duck to 5 pesetas (0,03 Euros moreless) loot that was quickly replaced with a "flash" (an ice desert) of Coke in "Chichita", the booth at the corner ...

I was lucky enough to escape from math class when the teacher called me to help with the murals of the parties ... at that time I became aware that i had easily.

2 - What are the movements that have influenced you?

Myriad of "isms" but especially the color, freshness and quality of recreational impressionism; naturalistic mysticism from prerrafaelism
and symbolism; simplicity, emptiness, and in turn respect strength, from oriental art.

3 - What has been and is the biggest challenge in your career?

Appears in each work. Introducing me in my parallel world and bring it to surface, that is my biggest challenge

4 - What has changed in you since you pick up a paintbrush for the first time today?

I don't remember me without it, has always been part of my life.
What has changed is just me trying to leave the paintbrush as a second option, as a hobby for my spare time ... I could'nt. If it is not my shaft, I withered like grass dying of thirst. That's all I saw in this crisis, it is essential to me.
My most intense moments are absorbed, with no notion of time and space in the workshop ... I am more than ever, and also free to be like no other situation like it in a kind of magical state, a road leading from nothing to something.

All create, many times in the day, only that we are not aware, or do not allow ourselves the luxury of taking the time enough to lose track of that time and get into the vacuum ... It is a state of bliss that does not depend anyone but ourselves. Create something (no matter how tame they seem to us or shame us the result)is a unique and deeply intimate gift to ourselves.

Perhaps if everyone allowed his creativity in any field of life (cooking, dancing, pictures, decorating ... not just painting or bronze sculpture ... is also the dough!) Fill a bit of that longing for happiness that we seek, and would be less demanding to sue in other areas of our lives, increasing our self-esteem and emotional independence.

It is true that if the results do not satisfy you, the feeling is bittersweet, but you have to obvious that feeling. If you do it, eventually begin to feel satisfaction...all good things come slow cooked such as grandmother's dishes with lots of intense flavors and balanced turn ... But to achieve it, the only condition is not to judge the result. Hence the magic evaporates. Enjoying the process of amnesia is what counts, is the sediment that leaves us to have forgotten the world....... So here I encourage everyone who ever wanted to do "x" and don`t dare by complexes that are good for nothing ...
You see ... Trying to leave this behind is what changed me to need it most.


5-I noticed that the color is very important, impact, tell us that, color
Color surrounds us, gives life, change our moods. Imagine a world in black and white ... The Nordic countries have the highest rate of suicide by the lack of sun.
When I was with Erasmus in Antwerp, a year in the Belgian Gray made a dent in all the canaries that were there. On the way back we learned that is a type of depression caused by lack of light. And the light contains color. Not in vain we call a cloudy day as gray (although that still exist, reds, oranges, etc ....)

The sky and sea are blue isn't an accident ... When a person has in his field of vision, active eleven brain neurotransmitters: soothing, slow pulse, deepen respiration, reduce perspiration and body temperature, including reduced appetite (in nature there are few blue foods) and pain.




In contrast, the red we found it in nature in small doses for its invigorating qualities, which in excess, stress. With a sunset we returned to life with intensity, but imagine a red sky for 12 hours! Have you ever seen a hospital with red and orange walls? Have you tried sleeping in a room bright red? The color is vibration at different wavelengths, such as music. In general everything is vibration.

Research on quantum matter have led current scientists to confirm millennial theories. The Egyptians had sanctuaries of colors where the sick bathed in rooms of bright blue, purple or pink.
Sounds and colors influence us. Try to leave the TV programs that continually discussed at a high level. You will be just angry without even notice. With the color is the same. Children psychological tests are based not only on what they draw, but the colors they use also.

If people knew the influence of black sunglasses on, maybe not they would use them so often. Always better to brownish green and orange brown. The gray turn off your encouragement slowly.. I am an extremist, I admit, i wear soft fuchsia glasses for cloudy days, and now I'm trying with blue ones.

6 - Can you self-define your works, you include them in any movement?

If there is a "environmentalism" as an artistic movement that exalts the balance between Nature and Human Being, I would include it. I have commented once on the German Romantic Friedrich.

7 - What is your greatest wish and where you want to go?

The truth is that all this time I've been painting, I always feel grateful and I'm still surprised that someone commenting that he felt moved with a painting.
A few days ago I read the comment from a person who was terrified of the sea, and was struck by the feeling of vastness. Knowing that this person can not discover how it feels to dive and having approached an appetizer of what is experienced in that blue silence... here I feel that i arrive.

I would also raise awareness of what surrounds us through beauty. Human beings are very selfish by nature, empathize little ... In a material level, to help through my work for the environment is my greatest desire. When I focused on it made sense to take my art seriously. What goes up, latter will down. Fame and money is not something you can take with you the other side of life, but it does serve your step if you leave a trail of something better for everyone ... I have a few ideas in my head that I hope that one day I can accomplish this... but I have to work hard and be lucky too

On the other hand try to help the viewer to reconcile with his less glamorous reality. Except for a 0.5 per cent of humanity, not the world we live in "perfect" imposed on us by advertising, magazines, television ... Relieve the pressure, and relaxation with our bath, in communion with our own and other living species, in a moment of peace ... that is what I'm looking for me, and I guess that by default, extended to the rest. Answering this, I realize that perhaps my work are rebalancing therapies for myself.

8 - What was the hardest moment in your career?

When you have not found what you really remove the entrails, that you are passionate to the point that nothing matters and makes you want to own risk through the brush. I remember his anguish. Feel you need in a visceral, animal would say, get something, but do not know exactly what it is. So I designed the workshop Ex-pression to overcome these creative crises, the key is what I was saying earlier to enjoy without judging and get on with patience. Suddenly everything makes sense, take body.

9 - What motivates you?

The human being, without question. That's all I feel I represent will not stop trying to understand the intricacies of our complicated psyche, with a mixture of admiration and compassion, trapping our movements, postures, body language ... that speaks with a gesture more than hours of philosophy. That body language is more sincere than that of the mind.

10 - How do you feel when you see a blank canvas?

S.O.S.

11 - What's the most enjoyable when you paint?

I said something unintentionally before: the amnesia of the world surrounding you. It's when you get back to reality when you realize you've enjoyed.
And more technically speaking, the light process meat, that final touch is the most enjoyable. I am a bad photographer, so I do underwater photos with the models most often leave much to be desired ... then just imagine where light goes, mentally go around the arm, a fold, and I solved this serpent of light.

I also love, despite this S.O.S., the first time to "deflower" the white of the canvas. It is a very important moment, which I approached with respect and vertigo, but when I throw the blue brush strokes and break the icy and white fabric ... the timing is wonderful.

12 - What are you feeling at the end of a painting?, When stop the brush, cover paintings, signatures, look, this time it was over.

Breathe. Each work I start thinking: "I can't... I will not be able to ...." When really I finish it, I am surprised and pleased at the same time ... so breathe.

13 - What an artist feels when suddenly his work is exposed and a lot of eyes looking?

Bittersweet. It is the worst I prefer the anonymity of the workshop, but if you want to work on this, no choice but to accept the public part. It is a combination of vertigo, fear ...and hope that compensates for the bad shot ...

14-Tell me an artist and a work.

Sorolla.

"The Rooster" (from Chagall, 1929)

15-I saw you also write, is a relationship for years or are young?, And who was first?

Do not write! Abuse of words ... I'm sure anyone who does know how to write, will be angry with me... But i try not to judge ... to creativity should not hinder it. I've always written, but for me to clarify my ideas, as anyone who keeps a journal. Ever support the work with text, but I prefer works of others who express much better than me.

16 - How Nuria Meseguer imagine the art world in 100 years?

Submerged for our irresponsibility.

17-If you were born again, what would you be?

Browser. This one who discover places where there has never been human footprints or trails.

18-I loved the invisible building, what was that project?

Arose from the profound dissatisfaction I feel with massive structures. I found some pictures of the nineteenth century from the cities Alcaravaneras and Las Canteras. The surprise of seeing how it used to be a field of sand together, it was the image on my retina, pervading like a transparency, on the buildings when i walked through this cities. That's the way that the proyect "The Invisible City" become ... Bring back to our field of view and the scenery can not be recovered. At least our daily schizophrenia will be calm with these valleys, and these cloudy skies already hard to see in amplitude ... It is a peaceful petition, a way to make us think where we are going.

19-Your works are wonderful, I'm impressed, have depth, movement, feeling that you can enter them, very strong, they are alive, is that part of your personality?

i think that whe are not objective when we describe at ourselves...in fact, we know through interaction with others, so I guess that this question it would answer better by my people, the ones who know me well... but I do recognize that I am intense, perhaps too much...

20-The color test. What color is it:

Love: The Humanitarian, pink. The passionate red.
Life: green.
You home: ocher and turquoise.
The family: pink and orange.
Art: all colors.

21 - Is it easy to live on with the art in the Canaries and how you see art in the islands?

It is not. We have the handicap of the "office"by the border of sea. We are European when it suits. Other times we are Africans. The costs of movement of the work are incomprehensible, it discourages any curator, gallery, etc. ... There are facilities with subsidies, but the basic law should make life easier. No wonder then there is brain drain ...
The art movement needs to thrive, both outward and inward ... in that sense we have it tough. It is a shame because there are a number of impressive artists in our islands.

2 - Do you see art as a way to communicate?

Of course. It is the universal language, goes directly to the emotions, avoiding cultures, religions, politics, races ... The artist committed to his work has been a persecuted character in history, precisely because the dogmas have no place in the language of the soul. And that is subversive, raises questions about deep patterns that may not be renewed interest. Art helps us to be more authentic, is a bridge to connect with ourselves. When people say: "I do not understand art, but this I like - or do not like," I always reply the same. Knowing sometimes tangled. Did you connect with you? Did you discover something you had not noticed? Perhaps you feel an inexplicable way, unconscious, and helps you do work tangible. For me, music within the arts, is a major driver.

23 - Do you think the artist was born or made?

Who cares? Do you have more value one thing or another? Sensitivities can be discovered later in life ... it detracts from this "new" artist?
Did the chicken or the egg? ... For me it does not matter in the end the omelette is what counts ...

24-Your next project.

Secret ... to succeed!

25-Something you would like to paint and still have not done

Idem (sorry, I love surprises ... and make them even more!

26 - take a time machine and tell me where would you go and which painter would you find.

I tum with Michelangelo in the Sistine Chapel scaffolding, I would subject the Sorolla's easel anchored on the beach; i would give the pigments to the painters of the hieroglyphics in the Egyptian pyramids;i would open the curtains on the windows when I saw Vermeer reach to his studio; i would share a piece of cheese, bread, wine, a thousand laughs and tall tales with Chagall in his studio in Paris at the 20; I would sit down to watch landscapes on the edge of the cliff with Friedrich; I would give the brushes and canvas to Frida into bed in Mexico to help forget her pain painting; i would dry out the notes of Hokusai Japanese when the waves break on his drawings; i would stamp a hand in the caves of Altamira, with shamans, hunters, before risking life with huge jaws and extinct mammoths; I would extend a beach towel on the sand to Gauguin in Polynesia,and i would give shade to observe his future paintings avoiding sunburn;collect blood from the seat of Van Gogh after he cauterized the wound and close a sedative; I would make snorkel with the precarious glasses of the 50's with Anglada Camarasa ... and more, more, more ...

Luckily there is only one life ...

(excuse my english traduction if is not correct, thanks!)

07 October 2010

THE INVISIBLE CITY (Mural Project I): The Invisible Town in El Tablero.Final.



Foto: Juan MaRe.



Foto: Felipe.



Foto: Javi Machado



Foto: Javi Machado.



Foto: Felipe.



Foto: Javi Machado

Gracias al pueblo de El Tablero por su apoyo, a los directores del Festival, y a todos los voluntarios, que han hecho posible que este proyecto de invisibilizar edificios se hiciera realidad...imposible sin todos vosotros!!!

17 September 2010

THE INVISIBLE CITY (Mural Project I): The Invisible Town in El Tablero.

(Español / English)
Los próximos 1, 2 y 3 de Octubre, se celebrará el I FESTIVAL RURAL DE CREACIÓN, en esta edición situado en El Tablero, Las Eras, Tenerife.

Este festival pretende revalorizar, desde lo artístico, el patrimonio rural que aún les queda, para evitar su futura "cementación". Actividades artísticas y otras especialidades se darán paso para interactuar en armonía con entorno y sus habitantes. Este acto reivindica los espacios rurales como espacios de creación e identidad cultural.

Para este festival he desarrollado el proyecto "The Invisible Town":

La construcción masiva que sufre Canarias desde el boom turístico en los años 60 va dejando una huella devastadora en nuestros horizontes. Desgraciadamente esto nos lleva a esforzarnos más para acceder a entornos infinitos que nos devuelvan la ansiada conexión con la Naturaleza, calmando la esquizofrenia del ritmo de vida que nos hemos autoimpuesto.
En un intento de rescatar visualmente estos horizontes, realizaré un trampantojo (tipo de mural que engaña a la vista) en las paredes del edificio otorgado con cielo y nubes, desapareciendo en la medida de lo posible como construcción ajena al entorno previo.



Esta colaboración en El Tablero surge del proyecto "The Invisible City Project", ideado para cubrir de cielos y nubes las fachadas de los barrios más desarrollados en las ciudades capitalinas.

Esta es una actividad no lucrativa, por lo tanto, siempre vendrá bien voluntarios que quieran participar en la realización del mural.

Los directores, Ana Beatriz Alonso y Miguel ángel Mejías, estarán presentes en el Coloquio Internacional "El Paisaje de la Vida Cotidiana", que se celebrará en Perpignan, en marzo de 2011, con la comunicación y conferencia "El Tablero ¿pueblo o barrio? Hacia la consolidación de una estrategia de paisaje".También en el Mercado Atlántico de Creación Contemporánea (MACC, septiembre 2010) que se celebra este año en A Coruña, para presentar el Festival en un foro internacional de ideas.

Si te animas a participar, aquí tienes el "planning"..

puedes enviar un mail a laserasdeeltablero@gmail.com .

Gracias!!

ENGLISH _______________________________________________________________________________________

The next day, September 30 until October 3, will be held I RURAL CREATION FESTIVAL ,this year located on El Tablero, Las Eras, Tenerife.
This festival aims to enhance, from an artistic way, the rural heritage, they have yet to prevent future "bonding". Artistic and other specialties will give way to interact in harmony with the environment and its inhabitants. This act claimed rural areas as creative spaces and cultural identity.
For this festival I have developed the project "The Invisible Town":The massive construction that Canary Islands is suffering from the tourist boom in the 60`s leaves a devastating mark on our horizons.Unfortunately this leads us to try harder to access to infinite environments where we return the desired connection with nature, calming schizophrenia of life that we have self-imposed.
In an attempt to rescue these horizons visually, I will make a trompe l'oeil (type of mural that fools the eye) in the walls of the building given, sky and clouds, disappearing as far as possible as a construction.
















VERANO, MI INSPIRACION/ SUMMER, MY INSPIRATION

video

25 June 2010

Nuria Meseguer en NU2. Magazine de Mar y Arte. (Art&Sea Magazine)

"SUMMER", by Nuria Meseguer
MAR...SUDOR...SAL / SEA...SWEAT...SALT

"Agua salada desplazándose contenida en un recipiente carnoso, evitando así evaporarse para vivir historias sentidas. Continente cuyos límites entran en amnesia cada vez que retorna al vientre materno, al alma máter, ...Al Mar, El Origen."
Nuria Meseguer.

"Moving salt water contained in a fleshy receptacle, avoiding evaporation to live heartfelt stories. Continent whose boundaries fall within amnesia each time they return to the womb, the alma mater ...The Sea, The Source."
Nuria Meseguer.

Gracias al equipo de NU2 por su interesante iniciativa y contenido de este magazine cultural y medio ambiental, un placer participar...felicidades!
Thanks to NU2 team for their initiative and interesting content. in this cultural and environmental magazine, a pleasure to participate ... congrats
nº16. Junio-Julio 2010. nº16. Juny-July 2010.



15 June 2010

Underwater Murder

"Su cuerpo en el agua casi no ha sonado, como cuando una pluma cae. Lo veo hundirse, ni siquiera río, más bien mi boca se torna triste, los párpados pesan como láminas de metal. Ni la luna, ni la niebla, ni los árboles me denunciarán".  "El Don de Vorace". Félix Francisco Casanova.


"His body in the water has not sounded almost as if a feather falls. I see him sink, not even the river, rather my mouth becomes sad, eyelids weigh as sheet metal. Neither the moon, nor fog, nor trees denounce me." "El Don de Vorace". Félix Francisco Casanova.



29 May 2010

Taller EX-PRESION. Lanzarote (5-9 Julio 2010)

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EXpresión.

Taller de expresión plástica 
DESCRIPCIÓN
Taller enfocado a ampliar la expresión artística, representada en la mancha y su forma, dejando atrás un contexto usualmente limitante: El espacio reducido del soporte. 

OBJETIVOS
Experimentar la transformación plástica que de ello surge, comprobando en los diferentes resultados obtenidos, cómo influyen los estados emotivos (en este caso inducidos por varios ambientes acústicos, visuales y/ó literarios) en la expresión que dirige la materialización plástica, y desarrollar así nuevas perspectivas a la hora de afrontar las superficie sobre la que materializamos la creatividad, con una fresca sensación de amplitud de movimiento, tanto corporal como mental, rompiendo así límites autoimpuestos en nuestra forma de abordar el arte y su representación.
El resultado final de la aplicación de este taller se refleja en los nuevos trabajos personales con una aplicación más amplia de la línea, mancha ó composición en el contexto del soporte.
Se tendrá en cuenta el tipo de grupo y su experiencia previa.

PROGRAMA
La actividad se desarrollará  en cinco sesiones repartidas a lo largo de una semana.

¿A QUIÉN ESTÁ DIRIGIDO?
Especialmente indicado para personas dispuestas a disfrutar, mancharse y sentir los límites de los niños al crear…ninguno. 

RECOMENDACIONES Y REQUISITOS
Se aconseja a todos los alumnos vestir con ropa y zapatos de trabajo (preferiblemente manga larga y pantalón largo) y llevar trapos para limpiarse.
Además, deberán aportar un Bloc acuarela DINA-4 y un estuche sencillo de acuarelas (o pinturas manejables al agua).

DIRECTORA
Nuria Meseguer nace en Las Palmas de Gran Canaria en 1973. Desde 1984 reside en Lanzarote hasta su ingreso en la Facultad de Bellas Artes de La Laguna, Tenerife (1991-1996). Becada durante un año con el Proyecto Erasmus (1995-96) en Amberes, Bélgica. Recibe varios primeros premios de Dibujo y Pintura (VII y XI Certamen Jóvenes Puerto del Arrecife (1990/1994); Santa Cruz Joven’99 (Tenerife); 8º Certamen de Pintura Puerto de la Luz (Las Palmas, 2007). Expone en las Islas Canarias, así como en Barcelona, Ibiza, Sáhara Occidental y París.

MÁS INFORMACIÓN Y RESERVAS
 Centro Insular de Cultura El Almacén. C/ José Betancort 33, Arrecife de Lanzarote
Tfno. 928.810121 – 928.815298

DATOS GENERALES
Título: Expresión. Taller de expresión plástica.
Fecha y hora: Del 5 al 9 de julio de 09:30 a 12:30 horas.
Lugar: Escuela de Artes Aplicadas y Oficios Artísticos Pancho Lasso.
Máximo de alumnos participantes: 15.
Tasa de inscripción: 40€.
Organiza: Área de Educación y Cultura del Cabildo de Lanzarote
Colabora: Escuela de Artes Aplicadas y Oficios Artísticos Pancho Lasso


04 March 2010

PROSTITUCIÓN.Compra-Venta de Intereses.

Exposición comisariada por Adonay Bermúdez en torno al espinoso tema de la prostitución, enfocada desde diferentes ángulos. 10 artistas dialogan plásticamente:

Antonio Gala.
Atchen Pounapal.
Miguel Pérez.
Colectivo DNI:Arte.
Rubén Acosta.
Guadalupe Carracedo.
Fernando Barbarín.
Fátima Lemes.
Escuela de Diseño IED.
Nuria Meseguer.

Ermita de Tías, Lanzarote. Del 5-31 de Marzo del 2010.


Texto Explicativo
de la obra
"Naturalezas Desprotegidas"



"Naturalezas Desprotegidas"
Díptico. 24 x 26 x 6 cm.
Pan de Oro y óleo sobre lienzo.







"Al amparo de las sombras".
Fátima Lemes.


"Hotel Playa Blanca". Rubén Acosta.










"Cuestión de Huevos". Antonio Gala



"Mr. President...these are the games for military men"
.



































"¿Por cuánto?".Fernando Barbarín
. "Alta Burguesía".
Guadalupe Carracedo.



"Sensualidad Estridente"



Comisario:
Adonay Bermúdez






La mirada de 10 artistas sobre la prostitución cuelga en las paredes de la Ermita San Antonio from siroco on Vimeo.

13 February 2010

DOLORES. Exposición en París sobre el maltrato a la mujer.

El 25 de Noviembre fué inaugurada la instalación de arte contemporáneo "DOLORES", por la artista Séverine Bourguignon, en el City Hall of the 18th district of Paris, Montmartre, para la cual contó con la participación de creadores de diferentes partes del mundo, entre ellos: Chipre, Serbia, España, Holanda, Rumania, Montenegro, Inglaterra, Gales, Eslovenia, Alemania, Malta, Portugal, Finlandia, Tunez...




Dolores es una reflexión sobre la violencia doméstica, encarnadas en muñecas que fueron instaladas sobre columnas.



A los artistas participantes se nos facilitó un patrón común, y la única condición: colores rojo y blanco...

Aquí una pequeña muestra:



Mi colaboración a esta propuesta, "La trampa", me alejó de la plástica de la violencia física en sí, centrándome más en la idílica primera fase de la relación: El Enamoramiento.

Éste desata una química que anula todas las alertas que podrían habernos alejado de un peligro, y disuelven las evidencias en una bruma espesa, de la cual es difícil salir una vez creado los lazos emocionales, llevándonos hacia juegos de poder, amenazas y finalmente la anulación de la autoestima, con la cual conectamos con nuestras necesidades, y no las basadas en el miedo y la inseguridad ajenos. Con esa pérdida paulatina perdemos la capacidad de decidir qué es lo mejor para nuestras vidas con total libertad...e incluso la vida misma.



La Trampa.

Ésa mágica trampa nos abraza con todas las promesas de un idílico destino amoroso, príncipes y princesas de los antigüos cuentos clásicos que nos prometen un clímax de éxtasis eterno pero que se transforma en una planta carnívora sin apenas habernos dado cuenta de que el perfume que emanaba era para un abrazo letal.



Ésta exposición es un homenaje a todas aquellas mujeres, hombres, y niñ@s que fueron víctimas de ese fatal desenlace.


Des poupées pour dénoncer la violence conjugale
por LEXPRESS