Julie Hoedts interviews Primary resident artist Inés Garcia Gomez about her practice and current projects.


“My name is Inés García, I am from Spain and I am currently based in Nottingham, using my studio at Primary mainly to play, as for me it is a space to explore new paths and to allow things to happen.

I have studied Fine Arts at the University of Barcelona, and once I graduated, decided to pursue my career participating in workshops taught by Cristina Iglesias, Abbas Kiarostami, Víctor Erice, Gabriel Orozco and Wilfredo Prieto.

My practice is about movement, time and the precarious edge between objective reality and poetic reality. The main focus of my research evolves around the idea of how to think time in its fleeting and shimmering evanescence.

I think my work is not about techniques, but about process. One thing that brings me to another, and together it creates its own body. However, I have been using the camera for a long time and three years ago I switched from a digital to an analogical one. I needed to experiment with the image in movement, its textures, the consciousness of time, the duration of the film, the azar [randomness, luck, chance]. I wanted to not have the control and to be open to unexpected things to happen in the film.

I see my work as a body built from different elements. Sometimes I just begin working from an abstract concept that materializes through the process itself. Other times my starting point is a very concrete place, for instance a musical composition, and I work around it in order to approach and deepen it. I think both ways arrive at the same place. I wouldn’t say that I address specific themes in my work, I would rather talk about life concerns, questions about perception and presence in life.

My most recent works are based on music, and are developed in the form of sound installations, experimental films and drawings. I am especially interested in the creation of spaces that do not refer to an external world but rather to a mental representation that precisely removes the borders between the real and the unreal in order to cause an unsettling ambiguity, a slippage between sleeping and awakening.

I am currently involved in a project called: Seis canciones populares montañesas. It is a title from a musical composition created by Arturo Dúo Vital (1901-1964) after his stay in Santander’s jail during the Spanish Civil War. This project is a result of a workshop led by Cristina Iglesias in the Fundación Botín last September, where she proposed to make a project about a possible intervention in the public space of Santander to the participants. The link I found between the city, my work and me, was the composer Arturo Dúo who was born in my hometown and after his stay in jail he composed this collection of six piano and voice songs that links traditional songs and classical music. As a starting point I worked with the ligatures of the musical manuscript and I made different approaches that evolved as drawings, micro-architectures and calligraphies. From the calligraphies I made an installation for a bandstand composed by eight translucent textiles printed with the transcriptions of the songs being sung, and the piano and voice that activate the final display.

I am also completing a film called Winterreise that is a return to the origin of the homonymous piece by the composer Franz Schubert, where in the middle of a winter journey, a walker wandering aimlessly questions the living conditions and the meaning of life. From the very beginning Winterreise is built from a series of creative links: Schubert composed music from Wilhelm Müller’s poem, who in turn was inspired by Caspar Friedrich’s romantic paintings. I have filmed in 16mm in black and white and I have followed the locations of Caspar Friedrich’s landscapes. Last winter I have travelled to Czech Republic, Poland, Austria and Germany. I have edited 80% of the film and I still have to record the sound. I presume that it will premiere in 2020.”

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