October 2012
Chilango Magazine
Mexico City
What role does childhood plays in your work?
I was born right after the world war in Vienna, which was a truly dark and
depressed place at that time. From the first moment on I felt I was at the
wrong place, I thought: 'what the hell am I doing here, I don't belong here..'
The grown ups
around me were grouchy and didn't talk much and their world seemed cold, dark
and alien to me. What I didn't know at that time is that my parents generation
had just completed the biggest genocide in history and the destruction of all
artistic creation, - museums looted, thousands of books and paintings burned.
When I arrived at the scene it was a void place, populated by people who
suffered from mass-amnesia.
But I was a nosey kid - and I started to ask questions and I kept asking and
investigating which eventually led me to point where I had no choice but to
become an artist.
You grew up in Vienna, after World War II, do you think you exorcise your
demons trough your creation?
They are not so much my own personal demons, I am rather dealing with the demons
of society, of humanity. And from beginning on I used art as a weapon to fight
back.
In which ways do you relate to your work and with which
elements (such as violence or darkness), when you’re creating?
My work process is based on passion, intuition and curiosity. I don't have
a specific plan or method. I just keep moving forward, and each work is a new
attempt to get closer to my basic vision, knowing that I will never fully reach
it.
Your work is filled with images that could be described
by some as disturbing, and provocative. Is there any gratuitousness in
these provocations?
I find the world I live in disturbing and provocative and my work is the only
response I am capable of. I know I am never raw and radical enough, but I am
working on it.
Your work is being presented simultaneously at San Carlos
National Museum, Hilario Galguera gallery and Monumento a la Revolución...
why did you choose to come to Mexico City?
To show my work in Mexico is an old dream of mine. I have many mexican friends
and I love the narrative and expressive tradition of painting in Mexico. And
some years ago the Mexican curator Susan Crowly contacted me and told me that
since long time she wanted to show my work in Mexico, and she visited me in
Ireland and I came to Mexico, where I met Hilario Galguera and Philipe from
the City council and Carmen from the San Carlos museum and as you can see it
now finally worked out.
Why did you decide to entitle your exhibition in San Carlos
Museum as “Faith,
Hope and Charity”?
I think titles are not there to explain anything, but maybe to add another
aspect, and give people another point of view when they look at the work.
You’re creating a specific project for Monumento a la Revolución.
Was it difficult to understand mexican culture?
I don't know if I understand Mexican culture, but I always felt a deep affection
for Mexican culture and history and the peoples' long struggle for freedom.
In Los Angeles I am around Mexican people all the time and I like their inherent
warmth and joyfulness, which are a welcome contrast to the Gringo world.
What called your attention in order to work with Mexican children?
From beginning on throughout the years - the child was the central theme of
my work. I worked with children in many different countries and it's really
interesting to see the specific qualities that all children have in common
and the differences due to their ethnic heritage and the history of their
country.
What do you think is the peculiarity of mexican childhood?
Generally I think it's a privilege to be able to work with children, I always
find them inspiring and wondrous and I learn a lot from them. Working with
the children from Mexico was a very special experience. I found them incredible
pure and innocent, and very sincere in the artistic collaboration, it's something
I will always remember.