Josefina Caron
(fine artist)
What is, in your
opinion, a professional artist?
If the artist is to acquire
the adjective “professional”, a professional artist
would be that one who in his/her performance goes along those
pre-set places by the system that makes them professional with
certain consistency. However, from another point of view, the
one that has to do with performance itself, a professional artist
would be that one that has achieved the so-called knowledge so
as to do his/her work professionally. In my opinion, to assign
the adjective “professional” to an artist confines him
or her in a too limited field and their achievements would be
measured by performers, systems and places that would have little
to do with the real, achieved, found, understood and comprehended
thing by the artist him/herself.
What's the relation between art and money in your work?
In my personal case, art and
money are very wide apart, I work in a company to earn a living.
However, before this question , it turned out to be very interesting
to probe that several times I have let my artistic activity filter
my corporate work, and every time I have done so, I have committed
a kind of theft against the interests of those who pay me a salary
to do another job.
How do you resolve the conditions of visibility of your work in
the context you work in?
Even chance has given me several walls.
One, in the open air, which I have explored in different ways,
another hanging paintings on wire fence , another in art and conflict
in Brukman, and several other times I have set up paintings in
the streets to be seen by passersby.
On the other hand, my work has been visible in the contest calls
or shows I have taken part.
What's the relationship between control and chance in your work?
There is a first phase which is at random, in the sense that
the image comes from me, although I am almost sure that is not
chance what emerges and presents it but it is the very same object
of my inner processes and, at a certain moment, it comes up with
the need to enter the artistic world without being satisfied with
only being in my thoughts. From them on, I introduce control mechanisms
that simply have to do with the material resources that I believe
are necessary for the image to inhabit the support. Then everything
is chance.
How important is it for you to be able to talk about your work?
I have not done it very often, so I do not know whether I have
not done it because I quite disregard it or simply because I have
not yet found the way or context to do the talk. Now I am doing
it and it turns out to be fairly interesting.
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