Tuesday, May 17, 2011
Friday, May 6, 2011
Honeywell Lock Box Not Opening
Álvaro Zardoni.Destreza and creativity
P. - How to design the series, which inspires you?
R. "I work in small format, and that is why I usually make series ... well, a piece of unfinished leaves you and takes you over and over until you feel you've exhausted the subject ...
What inspires me? The human figure ... especially the faces ... and everything that they reflect: feelings, emotions, thoughts ... With a wink have a completely different piece ... I think the faces that I, a correction beyond "academic", have a personality, a psychology and a look "alive" ...
Q. - How do you define your style?
both classic R.-A, I feel that both the form and content of my work is about the production of the Mediterranean, but with a contemporary hand and the influence of someone living in a place with so many stimuli as what is the City of Mexico, and also load some dark humor.
Q. - How did you get started in art?
R. "I always contact with art: From very young I took classes in painting and drawing workshop Irene Lindroth, studied architecture at the Universidad Anahuac, and I did several things in design and decoration ... and for a short time took the administration of a scholarship for artists who gave the city government.
With regard to the sculpture, had a longer process ... I had a child a table with my dough ... I was very easy to model ... but it made things that last. Started accidentally exposed ... I liked the idea of \u200b\u200bsculpture, but was afraid to pursue it professionally, in fact it took me some time make my pieces in bronze, it was very serious step ... to stop being myself and sharing parts only outside ...
now over 10 years I devote himself to art and happy to be on this path.
Q. - that builds your spiritual faith?
R. "I'm on a spiritual quest ... something unconventional and ecumenical ... I think we should be open to learn to recognize where to find wisdom, we can make sense as human beings, and significance to other plans ... but also to know to set limits all dogma imposed upon us, wherever it comes.
Q. - What artists have influenced your performance and development?
R. "From very young I read something I wrote Louise Neveslon, the great sculptor, and that stuck with me ever since:
" From earliest childhood I knew it was an artist. I felt as an artist. Many people are here on earth and never know what they want. I call incomplete beings. I had an outline of what my life and what I wanted from this world. Well, not all were so applicants like me. But I wanted something that I thought I belonged, wanted an exhibition for myself. To me that was life. Who is an artist? You have to take the title. No one gives it. We should make our lives. "
I've seen the work of many sculptors. I do not know which way to study his work has left its mark on mine ... I can refer you to Rodin, Aristide Maillol, Camille Claudel, Jose Clara, Arno Breker ... and the most recent Subirachs, Robert Graham and Javier Marín.
Q. - Do you have any anecdotes you'd like to have another colleague?
R. "He does not lose sight of the internal creative needs ... there are many external voices that can turn our line of work: the galleries buyers, views on what should be or not art ... I think we should be faithful to what one wants to express.
Q. - Where were you born?
R. "In Mexico City, in an old neighborhood called Colonia Roma. Now I live very near there.
Q. - What are you working now?
R. "Taking a break from the human figure and experimenting a bit with animals ... I want to cats (obviously this is not common cats ...) I have drawn three so far.
Q. - What you got in the short term plans?
R. "These past years have been difficult for art, several galleries with which he had been working closed and I started to deal with others. I've been more focused on my work to expose ... perhaps a kind of protection. As plans for the future I would like to do some large format, that would be a great challenge for me, but all depend on if it were a request for costs.
Q. - Do you always like this art?
R. "If ... and I think that I could not live without art, both appreciating and producing.
Q. - which artists do you admire?
R.-A lot, not only painters but also sculptors, musicians, writers, architects ... do not know with whom head the list!
Q. - You come from a family of artists?
R. "My parents are economists. Several writers relatives of my grandparents. But only one of my grandmothers painted. I have a picture of her, which I find beautiful. I suppose that painting was a hobby for her than a matter of being an artist as such. My family saw my facility for art, but did not consider it a valid proposal for a living. This has been a learning experience for all of us.
Q. - Tell me about the series of sculptures that tauren as a key accessory, the key that has any meaning? "Just
R. I started to use everyday objects in my pieces when I did my first collection of bronze ... it was an attempt to remove the formal of the metal to do something more fun, more accessible ... the bronze will always refer to a monument or something very serious ... so I also wanted to use color patinas that are rare, and while more vivid.
Returning to the objects, they would help reinforce the idea of \u200b\u200ba piece or collection that I'm working on ... the Cyclops have coins on their foreheads, which refers to the priority of the material currently exists. The keys on my latest collection (Bedel) have to do with doors that open, the hope of a better world.
Q. - What were your childhood like?
R. "Well I think very imaginative and withdrawn ... I lived in my own world.
Q. - In the school were a good student?
R. "I think we had good retention (never flunked ... in fact my grades were good) but I always hated that I was commissioned to work or having to do things out of obligation.
Q. - Do you have unfulfilled dreams or are you heading?
R. "I love to have a gallery representing me overseas ... I have not found the way to achieve it. Since Mexico is a country hostile to art, I could use a different window for my production.
Q. - Do you work in silence or background music?
R. "The music always accompanies me ... but depends on the mood you are and the intention of the piece you're working ... I think my favorite genres are study baroque choral music and flamenco.
The casting is another thing: as you can imagine: Salsa, Cumbia and other rhythms of a workshop!
P.-Tell me about the series of zodiac signs, sirens, etc.
R. "The Zodiac was born almost by accident, he had worked a Unicorn and the idea to sing something with bull horns, sheep and goats ... hence I was excited to progress the rest of the signs, but I think the people I have around: friends and family, and the way I perceive them ... there are a couple of pieces that are "uncomfortable" because they are not entirely flattering.
On the other pieces you ask me, you will realize that return very often to be inspired by mythological themes of Greece and Rome ... sometimes I take as a reference to literary or historical characters.
Photos: belong to the artist interviewed 
His ability, skill and capacity made this artist stands with magnificence of his works through the expression that was manifest in each of his figurative sculptures style and vitality.
His sculptures have a strong connotation, ranging from mythological and legendary to pieces and avant-garde. Álvaro
Zardoni, has a restless spirit, emotional and fresh. This artist presented their various bronze sculptures in solo and group exhibitions in major galleries and private: USA, Mexico, as well as many of his works are in private collections in Mexico, Miami, Los Angeles, Chicago, Boston, New York, Portland, Eugene, Seattle, Bogotá, Buenos Aires, Cologne, Stuttgart, Vienna, Antwerp, Rotterdam, Lisbon, Madrid, Milan and London. Zardoni Alvaro was born in the Roma neighborhood of Mexico City. He studied painting and drawing workshop Irene Lindroth. He is an architect graduated from the Universidad Anahuac (1987). He is currently represented by "Dante Gallery" of Puerto Vallarta, "Generator Gallery "and" Space Kerlegand "of San Miguel de Allende. Hall is a member of the Mexican Plastic from February 2006. Latest esposiones
Bedel in March 2011 in Mexico City. Jury is currently involved in First Contest Illustration: The life of Joan
Q. - Is the process of each piece is a long process to do more?
R.-The bronze sculpture, which is my case requires a more or less long and perhaps a bit complicated because there are parts of solo work in the studio and other equipment within a workshop for technical issues .
Q. - First a clay mold and then ...?
R.-start modeling in clay, rather playing with the ideas live on this stuff ... I do not do sketches or preliminary drawings ... in the end it makes a rubber mold, which will be original copies in wax ... then you have to tweak these waxes: remove the marks of the mold seams, bubbles and other imperfections ... ready each wax is wrapped in a plaster cylinder which, once set, bake for the wax to evaporate. The cylinder as it cools it is ready to be made of cast bronze pouring.
The bronze piece must be sanded, chiseled and polished before applying the patina, which is done with acids and other components to give the finish. To seal used the final wax and polish to give the brightness.
I'm very close to the workshop process in order to be sure of the final part quality.
His sculptures have a strong connotation, ranging from mythological and legendary to pieces and avant-garde. Álvaro
Zardoni, has a restless spirit, emotional and fresh. This artist presented their various bronze sculptures in solo and group exhibitions in major galleries and private: USA, Mexico, as well as many of his works are in private collections in Mexico, Miami, Los Angeles, Chicago, Boston, New York, Portland, Eugene, Seattle, Bogotá, Buenos Aires, Cologne, Stuttgart, Vienna, Antwerp, Rotterdam, Lisbon, Madrid, Milan and London. Zardoni Alvaro was born in the Roma neighborhood of Mexico City. He studied painting and drawing workshop Irene Lindroth. He is an architect graduated from the Universidad Anahuac (1987). He is currently represented by "Dante Gallery" of Puerto Vallarta, "Generator Gallery "and" Space Kerlegand "of San Miguel de Allende. Hall is a member of the Mexican Plastic from February 2006. Latest esposiones
Bedel in March 2011 in Mexico City. Jury is currently involved in First Contest Illustration: The life of Joan
Q. - Is the process of each piece is a long process to do more?
R.-The bronze sculpture, which is my case requires a more or less long and perhaps a bit complicated because there are parts of solo work in the studio and other equipment within a workshop for technical issues .
Q. - First a clay mold and then ...?
R.-start modeling in clay, rather playing with the ideas live on this stuff ... I do not do sketches or preliminary drawings ... in the end it makes a rubber mold, which will be original copies in wax ... then you have to tweak these waxes: remove the marks of the mold seams, bubbles and other imperfections ... ready each wax is wrapped in a plaster cylinder which, once set, bake for the wax to evaporate. The cylinder as it cools it is ready to be made of cast bronze pouring.
The bronze piece must be sanded, chiseled and polished before applying the patina, which is done with acids and other components to give the finish. To seal used the final wax and polish to give the brightness.
I'm very close to the workshop process in order to be sure of the final part quality.
P. - How to design the series, which inspires you?
R. "I work in small format, and that is why I usually make series ... well, a piece of unfinished leaves you and takes you over and over until you feel you've exhausted the subject ...
What inspires me? The human figure ... especially the faces ... and everything that they reflect: feelings, emotions, thoughts ... With a wink have a completely different piece ... I think the faces that I, a correction beyond "academic", have a personality, a psychology and a look "alive" ...
Q. - How do you define your style?
both classic R.-A, I feel that both the form and content of my work is about the production of the Mediterranean, but with a contemporary hand and the influence of someone living in a place with so many stimuli as what is the City of Mexico, and also load some dark humor.
Q. - How did you get started in art?
R. "I always contact with art: From very young I took classes in painting and drawing workshop Irene Lindroth, studied architecture at the Universidad Anahuac, and I did several things in design and decoration ... and for a short time took the administration of a scholarship for artists who gave the city government.
With regard to the sculpture, had a longer process ... I had a child a table with my dough ... I was very easy to model ... but it made things that last. Started accidentally exposed ... I liked the idea of \u200b\u200bsculpture, but was afraid to pursue it professionally, in fact it took me some time make my pieces in bronze, it was very serious step ... to stop being myself and sharing parts only outside ...
now over 10 years I devote himself to art and happy to be on this path.
Q. - that builds your spiritual faith?
R. "I'm on a spiritual quest ... something unconventional and ecumenical ... I think we should be open to learn to recognize where to find wisdom, we can make sense as human beings, and significance to other plans ... but also to know to set limits all dogma imposed upon us, wherever it comes.
Q. - What artists have influenced your performance and development?
R. "From very young I read something I wrote Louise Neveslon, the great sculptor, and that stuck with me ever since:
" From earliest childhood I knew it was an artist. I felt as an artist. Many people are here on earth and never know what they want. I call incomplete beings. I had an outline of what my life and what I wanted from this world. Well, not all were so applicants like me. But I wanted something that I thought I belonged, wanted an exhibition for myself. To me that was life. Who is an artist? You have to take the title. No one gives it. We should make our lives. "
I've seen the work of many sculptors. I do not know which way to study his work has left its mark on mine ... I can refer you to Rodin, Aristide Maillol, Camille Claudel, Jose Clara, Arno Breker ... and the most recent Subirachs, Robert Graham and Javier Marín.
Q. - Do you have any anecdotes you'd like to have another colleague?
R. "He does not lose sight of the internal creative needs ... there are many external voices that can turn our line of work: the galleries buyers, views on what should be or not art ... I think we should be faithful to what one wants to express.
Q. - Where were you born?
R. "In Mexico City, in an old neighborhood called Colonia Roma. Now I live very near there.
Q. - What are you working now?
R. "Taking a break from the human figure and experimenting a bit with animals ... I want to cats (obviously this is not common cats ...) I have drawn three so far.
Q. - What you got in the short term plans?
R. "These past years have been difficult for art, several galleries with which he had been working closed and I started to deal with others. I've been more focused on my work to expose ... perhaps a kind of protection. As plans for the future I would like to do some large format, that would be a great challenge for me, but all depend on if it were a request for costs.
Q. - Do you always like this art?
R. "If ... and I think that I could not live without art, both appreciating and producing.
Q. - which artists do you admire?
R.-A lot, not only painters but also sculptors, musicians, writers, architects ... do not know with whom head the list!
Q. - You come from a family of artists?
R. "My parents are economists. Several writers relatives of my grandparents. But only one of my grandmothers painted. I have a picture of her, which I find beautiful. I suppose that painting was a hobby for her than a matter of being an artist as such. My family saw my facility for art, but did not consider it a valid proposal for a living. This has been a learning experience for all of us.
Q. - Tell me about the series of sculptures that tauren as a key accessory, the key that has any meaning? "Just
R. I started to use everyday objects in my pieces when I did my first collection of bronze ... it was an attempt to remove the formal of the metal to do something more fun, more accessible ... the bronze will always refer to a monument or something very serious ... so I also wanted to use color patinas that are rare, and while more vivid.
Returning to the objects, they would help reinforce the idea of \u200b\u200ba piece or collection that I'm working on ... the Cyclops have coins on their foreheads, which refers to the priority of the material currently exists. The keys on my latest collection (Bedel) have to do with doors that open, the hope of a better world.
Q. - What were your childhood like?
R. "Well I think very imaginative and withdrawn ... I lived in my own world.
Q. - In the school were a good student?
R. "I think we had good retention (never flunked ... in fact my grades were good) but I always hated that I was commissioned to work or having to do things out of obligation.
Q. - Do you have unfulfilled dreams or are you heading?
R. "I love to have a gallery representing me overseas ... I have not found the way to achieve it. Since Mexico is a country hostile to art, I could use a different window for my production.
Q. - Do you work in silence or background music?
R. "The music always accompanies me ... but depends on the mood you are and the intention of the piece you're working ... I think my favorite genres are study baroque choral music and flamenco.
The casting is another thing: as you can imagine: Salsa, Cumbia and other rhythms of a workshop!
P.-Tell me about the series of zodiac signs, sirens, etc.
R. "The Zodiac was born almost by accident, he had worked a Unicorn and the idea to sing something with bull horns, sheep and goats ... hence I was excited to progress the rest of the signs, but I think the people I have around: friends and family, and the way I perceive them ... there are a couple of pieces that are "uncomfortable" because they are not entirely flattering.
On the other pieces you ask me, you will realize that return very often to be inspired by mythological themes of Greece and Rome ... sometimes I take as a reference to literary or historical characters.
Photos: belong to the artist interviewed
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