La entrevista a Alfredo de la Rosa para Y SIN EMBARGO magazine #15, “inter-visto issue”:
1. Do I Play? What values do I place on the ludicrous in life?
A. Indeed, I recreate and re-create. The ludicrous is so out of place to be amusing in my life.
2. Have I used my art to get sentimental? Have I used my art to gain sexual advantage over someone?
A. I regard sentimentality as an enemy of art. A woman I am attracted to would not fall for the cliche “Would you like to come up to my place to see my etchings?” when it is my Self that I want her to be seduced by.
3. Do I believe in or subscribe to an eschatology of transcendence?
A. Unlike many who believe transcendence lies in orgasm, I believe in an eschatology of transcendence when the transcendant lies in the Beatific Vision.
4. What is the one thing I have never admited about myself?
A. I am an inveterate liar and fabulist.
5. To what extent is the repetive in art the image and likeness of cylces in nature? Are these repetitions hypnotic, tribal or stupefying?
A. As Gertrude Stein suggested, repetition is the artist’s form for providing emphasis in a narrative. Are they hypnotic, tribal or stupefying? No, they are conscious and unconscious efforts of studio facture.
6. In responding to questions from anonymous people and asking a question of them, do I think such an event has significance beyond cyberfiction, delusion or virtual reality?
A. My responses resemble historiographic metafictions.
7. How do I relate my creativity to social engagement in terms of a critique of what is and what is possible?
A. My art is seldom informed by idealism. My art is informed by what I imagine, what I know, what I witness, what I experience, what I have been told and what I fantasize about.
8. What five books do I think should be mandatory in any occidental high school?
A. Evey culture determines its educational criteria for itself.
9. Repetition determines the norm by which genes assure continuity while difference signifies a rupture eventuating in mutation. Does the human condition show signs of cultural mutation or is it heading towards neurotic collapse?
A. The question does not of necessity follow from the statement. Our genes are extremely persistent and aggessive for and beyond survival, selfishly adapting.
10. What is my pictosophy?
A. This neologism conflates Latin and Greek words, not an ordinary practice in linguistics and language. The question appears to ask, “What is my painting wisdom?” I have none.
11. What is it that makes sense for me to produce in terms of culture at this time?
A. My sensibility engages me in my culture which is reflected in my art.
12. If we are mimics under the banner of the aesthetic, am I engaged in a final totemic impulse?
13. Do the possible and the impossible interact with the actual when I view and contemplate an image?
A. I read images on several levels, starting with the literal event of a picture before determining for myself the artist’s intentions and discovering in the image what perhaps is conscious and unconscious in the artist’s facture.
14. What are the defining events of my generation?
A. The economic collapse of capitalism in the Great Depression, the rise of totaliitarianism and World War II, which attempted to settle the inequities of the armistice of World War I.
15. If NASA developed a space time capsule for articles of excellence, what would my contribution to the collection consist in?
A. I would contribute my biographic archives, evidence that a person named Alfredo de la Rosa existed on Planet Earth in his time.
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