Like many attention-grabbing artists, Félix Lazo’s artistic journey was, by his personal admission, a reasonably round one. The Chilean artist began to color and research artwork when he was 19-years-old however was subsequantly blindsided into an early lifetime of music and organic science.
“After three years I give up biology and focused on my music research, learning and dealing as a musician taking part in in Baroque music ensembles,” he tells Artspace. “However I felt one thing was lacking; then, one summer time, I began to color, and it was a revelation.”
Lazo took up area within the studio of one in all his buddies, started learning cubism, and the work of Miro, and Matisse, and began to develop his personal extra experimental model of labor which took him to New York Columbia College, Academics Faculty with a Fulbright Grant for 2 years. That ’round journey’ was nonetheless not fairly heading in any discernible route, nevertheless.
“I met a pc firm CEO who requested me for a fee and offered me with the newest laptop tech of that point. I developed animations, video artwork and interactive installations and moved to Paris to check laptop music and electroacoustics. I designed a collection of interactive packages with which I may work together in actual time, creating shapes, coloration and typically sounds. However the extra I managed the machine, the extra the outcomes resembled my earlier work. In 2019 I exhibited a blended exhibition with computer-generated and handmade work.
Since then, Lazo has exhibited his work in venues all over the world, together with the Museum of Modern Artwork, Santiago, Chile, Marlborough Gallery, Santiago, Chile, Goethe Institut, Santiago, Chile, AC Institute, New York, La Guardia Efficiency Middle, Queens, New York, and Joyce Yahouda Gallery, Montreal, Canada.
On this interview, revealed to announce the artist’s inclusion in Artspace’s Artist Direct program, which gives easy entry to under-discovered and rising artwork stars’ work; he describes how the silence and the skies round his home in Frutillar, Chile, on the sting of Patagonia, encourage him, and the way he goals to create work that seem to vibrate in entrance of those that encounter them.
FELIX LAZO – Ph_series_11, 2022
How would you describe your work to somebody who has by no means seen it? I reside in Frutillar, Chile on the fringe of Patagonia, by the Llanquihue Lake, the panorama down right here is wonderful, and nature may be very alive. I’ve found unconscious influences of the panorama in my work.
One of many most important traits of my work is coloration vibration. The composition of the work is about in a approach that makes the work vibrate. For some individuals it has a sonic feeling. I had a buddy who would begin buzzing each time he got here into my studio and appeared on the work.
FELIX LAZO – Ph_series_07, 2022
These ideas make sense for me since my first language is music. I began my music research on the age of 13 and by 19 I used to be a recorder virtuoso. Then I turned in direction of portray, however I nonetheless play the flute.
My work is summary, and it’s rooted within the colorfield custom; post-minimalist and near a lyrical abstraction that relates someway to music.
I don’t create photos however visible trajectories with the goal of inviting the viewer right into a succession of visible occasions that may work together with the physique and thoughts.
FELIX LAZO – Ph_series_01, 2022
What made you wish to turn into an artist? I come from a household of writers and my mom was very serious about artwork, so there have been numerous artwork books in my home. It was a really unconscious journey from being a musician after which an artist. It’s concerning the seek for one thing particular, deep and significant.
What was your earliest artwork creation? My first work had been executed at 14, I confirmed them to a buddy slightly older than me, he was getting back from his research on the Academia of San Fernando in Madrid the place Picasso and Dali studied. He was very gifted and got here from a household of painters. He noticed my work, and since I used to be already a sophisticated flute participant, he suggested me to pursue music and overlook about portray. 5 years later, once I was ending my music research, I began portray once more.
How has your work modified over the course of your profession? My work has been very experimental; I’m at all times difficult myself with new processes and totally different mediums. I began portray figures and nonetheless lifes, very educational, then huge canvases of life-size figures in intense colours; then abstraction and objects, computer systems and video, interactive installations and creating digital work with code and interplay; now I’m portray once more.
FELIX LAZO – Rescue_Edition (alfa)_01, 2021
What ought to individuals search for in your work and what do you hope they may get out of your artwork? First, I would love them to really feel absorbed and immersed in a vibrational expertise that may take away them from the on a regular basis thought course of to a special dimension and provides them one thing refreshing and provoking.
What are the present issues occurring that encourage you? The silence and the panorama round my home, the skies and the lake. I’m at all times studying scientific papers and pondering of latest ideas and theories of buildings and methods of life group.
I studied Organic Sciences on the College of the College of Chile for 3 years after ending highschool, and someway these research have been a part of my artistic course of, giving me conceptual instruments to permit me to experiment with totally different approaches to my work.
I like work from totally different intervals, and I’m at all times visiting museums and studying about portray. I like Cezanne watercolors, Van Gogh pen drawings, Durer, El Bosco, Agnes Martin, Morandi and modern artists too.
FELIX LAZO – Robots Desires Tryptic_ Beta, 2022
The place do you slot in, who do you suppose you belong alongside? Modern Summary portray. I see that many of the modern summary painters are coping with kind of the identical issues, comparable to: excessive composition, questioning the narrative, the portray as object and texture, gesture, colorfield and the entire historical past of summary portray!
What do you concentrate on once you’re creating? When I’m creating, I normally don’t suppose. I’m aware that I’m making selections primarily based on concrete details comparable to depth of coloration, tuning, ambiance, nuances, composition and textures. My most important concern is to make the portray vibrate.
FELIX LAZO – SistemaAutopoiético_818_6, 2018
The place do your titles come from? Since my works deal primarily with vibrating sensations, I used to call them with phonetic invented phrases one thing like “uuuhaniiii” attempting to narrate what I used to be seeing within the work with the sound I imagined.
A while in the past I used to be exhibiting on the Modern artwork Museum in Santiago, Chile in a gaggle present. The work I used to be exhibiting was a collection of small work with sticks and treads on the partitions. There have been 13 of those and so they all had a small card beneath with a phonetic title on them.
Someday after the opening I revisited the present and a lady along with her daughter, round 10-years-old, entered the room and began to have a look at the work. The mom commented “I don’t perceive this work” and the daughter checked out her and began to sing the phonetics on the playing cards. I used to be delighted!
In my digital work I principally work on collection derived from the packages I design, and the names of the collection are associated to the processes concerned. In one of many collection, I used to be working with an algorithm that would detect and comply with the contour of the shapes, so I named the collection Contour Follower.
FELIX LAZO – Ph_series_13, 2022
Are you able to management the place the method takes you? I choose the shock of the place the method is main me. Typically I’ve numerous works in progress, and so they begin to crystallize at totally different instances. This method produces a form of vertigo and frustration since you are working, more often than not, at midnight with no map; however the reward of discovering one thing surprising is wonderful.
Might you describe a typical working day? It relies upon lots on the initiatives I’m engaged on, these days I’m again to portray. I rise up at 6:50am, put together breakfast and take my daughter to high school, a 15-minute journey by means of the fields. Once I’m again, I’ve a robust espresso and arrange for work, drawing, weaving or portray or workplace work. I like to color within the afternoon as a result of my thoughts continues to color when I’m sleeping and typically, I get up with concepts and options for the works.
FELIX LAZO – Rescue_Edition (alfa)_05
Inform us slightly about a few of your works on Artspace
Rescue_Edition (alfa)_05 is a part of a collection of digital work that relate to the mist. Typically the place I reside there’s a heavy mist within the mornings and because the day unfolds, totally different colours start to look. The area that this creates is extraordinarily attention-grabbing for me, creating a way of borderlessness and likewise an area that’s someway condensed.
FELIX LAZO – seguimiento de Contornos_Prints_07 2018
seguimiento de Contornos_Prints_07 is born from an interplay with visible algorithms that comply with the contours of the motion and generate an oval of coloration within the unfavourable areas. The attention-grabbing factor for me is how the motion seems with totally different instances and the way the work radiates a ‘strangeness’.
FELIX LAZO – Rescue_Edition (alfa)_03
Rescue_Edition (alfa)_03 On this work there’s a very gradual motion, and an area seems the place some shapes are nearer to the viewer than others that appear to recede in area. It’s apparently easy, however after some time it absorbs the gaze.
What are you engaged on in the meanwhile? A self-commissioned mission, an oil portray over hand woven canvas, some product of cotton others of linen. It began in January of this 12 months (2023). Final 12 months, I had 4 solo reveals in several cities, and I wanted to cease for some time. I exchanged a drawing for a loom, assembled it and began weaving. Then I remembered the portray Las Meninas I had seen in El Prado some years in the past, and one of many issues I remembered was how the thick three panels of canvas had been sewn collectively.
So, I began this collection of work, weaving the canvas and portray over it, producing a stress between the paint and the feel of the canvas. It’s simply starting, and I’m fairly passionate about this mission.
Check out extra work by Félix Lazo on his Artspace web page right here.
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