This is 5 Questions. Each week, we send five questions to an artist featured in Under the Radar, our weekly email highlighting the best art on the ArtSlant network. This week we seek answers from Sofia Donovan.
What are you trying to communicate with your work?
The place of investigation of my work is always human nature in its purest and most unconscious state as opposed to the artifice of civilization. My artistic practice interrogates the psychological interior of a biological and transitory body. I am interested in the passage of time, the moment in which the form is about to precipitate itself in the irreparable process of dissolution, the moment in which the form no longer responds to its form.
My most recent searches are motivated by the fascination in the destructive potentiality of nature and time. In how the remains of the past become symbols of transience, permanence and fall, sunsets, the interior of the human being and loneliness. Symbols by antonomasia of the transient, the ruins are the metaphors that interest me in this stage. The ruins in relation to the individual and personal memory of the passage of time.
Ruins’ Charm, 2017, Glazed ceramic
What is an artist’s responsibility?
An artist’s responsibility is to be honest about his work. This means that it should be deeply rooted into his/her interests and concerns and truly expressing those interests to broaden the public’s perception of life in all its ways.
Show us the greatest thing you ever made (art or not)?
From an art perspective, the greatest thing is the next work I am planning to do!
The greatest thing I ever made is my two children. It sounds a foolish thing to say, but molding another human being emotionally and spiritually is the greatest work of art one can do. It is something so dynamic, so dialectic, that I find it amazing. It is a work of so many variables—one works on them and on oneself at the same time.
Silence before downfall, 2017, Ceramics
Tell us about a work you want to make but never will:
It would probably be a huge installation involving gigantic ceramic sculptures and architecture. A ruined city with concrete, plants, and ceramics. I will never make it because the budget and space demanded to do so are not available in the country where I live and work.
Poética Doméstica/ Domestic Poethics, 2013, Earthenware, tables
Who are three artists we should know but probably don’t?
—The ArtSlant Team
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