Dulce Gómez talks about her worksSaturday, February 9, 2019
In this audio recording, Venezuelan artist Dulce Gómez talks about her works Muelle and Ladrillo nº 1.
My name is Dulce Gómez and I live in Caracas, Venezuela. I’m going to talk about two of my works: Muelle (1992) and Ladrillo Nº 1 (2011). Muelle is a painting that I made in the first studio I rented when I was just starting my career. At that moment, painting was a medium that allowed me to develop my ideas with minimal resources. We know that with painting it’s important to use real time as a compositional element; with this work I wanted to use the consciousness that takes shape during the execution of the work through contemplation.
In my work in general, I’m interested in resolving a disjuncture: the act of painting in real time and memory—the past—with the aim of obtaining an image that is the product of this juxtaposition. Perhaps decisions are the problem I’ve had to deal with when I’m painting. What course should the line take? What tone? What format? What background? How is the contour delimited? Where is the spectator located? In my place or somewhere different from where I’m working?
With Ladrillo Nº 1 (2011) I had gathered experiences and moments I’d lived that allowed me to use the memory of my own work, to go back to an event that had yet to be resolved, like the internal limits produced by doubts, inaccuracies or tensions.
When I painted it, I thought of those internal dams—emotional or mental obstructions—that sometimes keep us from seeing the future clearly, and only with the internal eye, which I locate in the most intimate part of my own subjectivity, have I found a way to dissolve them.
For me, painting is a way of creating a space for contemplation, but it’s also a way of finding and removing those internal dams, to better see the moment that is happening.
Now, in retrospect, when I see these works again, I think about that hidden moment when one begins a painting, in which one always starts over, clinging to the idea of registering upon the canvas an unrepeatable idea that has the fingerprints of the past, but renewing them as one works with intuition and imagination.