Shining Lines

with Alvaro Tapia Hidalgo


Your subjects emit some rather violent light: what they’re talking about?

My characters are screaming from the inside. They are in a panic, like a rabbit dazzled by bright light. They are restless but emotionally suppressed. They want to show the wild side that escapes them from all sides, but they are obliged to restrain themselves. They show the duality of the human condition. A dark inner conflict with a shiny and colorful surface.

How much does the madness have to do with illumination?

Here too, we speak of duality. Madness and lighting are on the same level, but in opposite ways. They are the two extremes of the same thing. They meet each other beyond the mind.


What’s the secret of your “Oscilloscope X” white lines?

It’s a graphical representation of the hidden side. Sometimes aggravating the original state.

What is the very moment someone realize to be an artist?

I would not know. I still don’t feel it, and I’m not sure if I hope to feel it.

How come today many people are much more reluctant to use this term — “artist” — to define their own vocation?

Maybe because they don’t care to have a definition of what they do, or they don’t feel comfortable with the definition of “artists”. In my case I would prefer longer call myself a “graphic worker” or “image’s worker”, rather than an “artist”.


How much importance takes provocation today in attracting attention to your message?

Provocation is a very effective way to attract attention, but when it’s empty — provocation for itself — it’s meaningless. As for me, I don’t consider myself provocative.

You also worked with Rolling Stone: do you think that music today has some responsibility if people as Mourinho is elected rockstar of the year?

It’s a work that refers to exhaustion in the world of contemporary music — and of the media that deal it — that has no enough powerful representatives anymore. It was an issue of the magazine, and it was very criticized at the time. I think that it was born from a perspective of “rock star attitude.” But I haven’t been losing sleep, sincerely.


Every author likes to portray celebrities: do you think there is a reason if, despite the passing of years, the reference celebrities are more or less the same?

Yes, you’re right. In fact, I’m already bored to portray characters such as personal work.

One of the most present word in our life is “crisis”: how would you paint it?

With the void, nothingness. A blank sheet.

The memory of your childhood you’re most fond of:

I can’t really remember anything concrete, or specific. What I remember is that it was all in all a happy childhood.




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