“The Arts create diagonals to understand the objects of the world and their interactions. They create bridges to access them beyond the masks... From the intense corner of the sky, where the cloud is passing alone behind the cutting of the roofs, the heterogeneous, intricate objects extend far beyond it, for all of us. All their tensions at the edges of the blocks, sky roof clouds, all their times that drown, interchange, tear each other away, shock each other, are transformed and/or are emptied. All of them, beyond the masks, vibrate and sinuate, energetic...”
Renaud Garcia was born around Paris, France in 1961. He moved at a very young age (unilateral decision by his parents, he was less than 18 months old) to the southwest of the country. He decided at the age of 11 that he would become a painter and/or sculptor. At the age of 20, he decided that he would make Art his "profession," which changed the way he conceived the fact of creating. He went from: a little work and a lot of mental shifts to a lot of work where the mind, the experiences, reflections, mise en abyme, etc... are incarnated. He is still, normally, at the same point when you read this. Throughout his lifetime, his work has been exhibited in solo and group exhibitions in both galleries and museums around Canada, Belgium, and France.
Renaud Garcia offers us through his works of art a glance at perfect dualism. You realize that life offers you both worlds and it's all about how to take advantage of them. It is understanding that fine line between reality and dreams. Between the good and the bad, between the cosmic and the organic. Garcia offers you a trip where you can digest your emotions without questioning anything, or maybe questioning too much. Either way, your horizon is expanded by different perspectives that show you what life is about, and more so, it hints on how to live it.
Q. As a child, what did you wish to become when you grew up?
A. Before I was 11 years old, a veterinarian or frogman (that's what divers were called at that time). After my 11th birthday, I switched to a painter.
Q. Do you remember the first art you made? What was it and how old were you?
A. I have done so many... I do not remember ...
Q. How and when did you first become seriously interested in art?
A. As a child, at home the library was full of art books, (encyclopedia rather classical: it stopped at Picasso, notice that he wasn't dead yet), decoration books (now it looks like design), architecture, photos, and some ethnography magazines... If my memories are not playing tricks... For my parents and not only for them, I was rather hyperactive, so these books were great, as soon as I opened them it was quiet hours immersed in them.
Q. What’s your best childhood memory?
A. All this is shared equally, I think, between good and bad memories. They are too many, life is too full. But I'll give one: The smell of chocolate, at certain hours, overlooking the city of Blois... Honestly, I don't care much about my past, the present is rich enough not to add layers that contaminate it by past causality.
Q. What personality trait has gotten you in the most trouble?
A. Not appreciating the ostentation.
Q. What have you had to sacrifice for this career?
A. Much of what my country's society recognizes as essential. Fortunately for me, most of these essential things were and still are secondary or even totally foreign to me.
Q. Tell us about your particular style and how you came to it?
A. Do not trust appearances. Color does not exist. There are only energy patterns. Forget the frame, objects extend beyond their formal forms... All glances are subjective, what I create will never be seen, perceived as I have created it, seen it, perceived it. My subjectivity changing with the passing of time. I can take up old works that somehow become foreign by injecting into them this new subjectivity, these new views, new perceptions, sometimes it works very well but often it is to throw away... I have always thrown away a lot....
How did I come to it?
By working, and working again
By passing from one fear to another
By letting go
By accepting hours of nothing, emptiness
By enjoying gloating because everything is going well
Above all, accept that the work that is being done is more than the being who creates it and let it go free.
Q. Who are your biggest influences? Are you inspired by the work of your peers or anyone else in particular?
A. Everything influences me, the animals of Chauvet, the Italian primitives, the Flemishes, Chinese painting, children's drawings, minimalists, conceptual, cinema, literature, science, music, and sounds of the worlds, nature, nature, nature, nature, wind .... joys, sorrows... Emptiness... Hands in the ground... The body in the cool currents... The nose between desiring and desired thighs... The poetry of the worlds... Altogether, in bonds and interactions, none masking the other.
Q. What does your art aim to express?
A. The diagonals, the energies that connect our worlds, all of us, objects and actors in these worlds.
(Object in the meaning of an interaction node, an object can contain an infinity of objects that contain it just as much).
Q. Is the artistic life lonely? What do you do to counteract it?
A. Yes, but I love that, so there is no need in me counteracting it.
Q. Apart from art, what do you love doing?
A. Everything, everything that helps me to keep doing what I love... Even if I don't like it.
Q. What is your philosophy in matters of art?
A. We are all, all the beings of this Universe, the center of all things, as many centers as objects of the worlds, but to become aware of it...
The Arts are one of the gateways, the bridges of this consciousness, as said above, to let the work go free is giving access to this consciousness both to those who create it and to those who experience it.
Q. What does 'success' mean to you?
A. A workshop, equipment to work, a full fridge, perhaps some gratitude to support the ego... but here... Um... Who acknowledges what, for what reasons? There is a lot of counter-productive in there... I always have some concerns about success telling the winds to stop moving the herbs for me...
Q. What are the biggest things you've learned in life thus far?
A. How short it is.
That we are each the center of all interaction of everything, so within the limits of my abilities to respect all things.
Q. What’s the best piece of advice you’ve been given, and by who?
A. If you have a brain that makes it easier for you to access the things of the world, make it work hard if you don't want it to bite you (the brain). From whom? It's personal!
Q. What advice would you give to the next generation?
A. None, they will do well without my advice.