Christian Olivares
32
CHRISTIAN OLIVARES PINTURAS / PAINTINGS
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Catalogue of an artist
Transcript of Christian Olivares
CHRISTIAN OLIVARESPINTURAS / PAINTINGS
Christian Olivares nace en Valdivia en 1944. Realiza estudios de pintura en la Escuela de
Bellas Artes de la Universidad de Chile, formándose con profesores de la talla de
Matilde Pérez, José Balmes y Eduardo Martínez Bonati. Viajero incansable desde muy joven, cumplió los 18 años a bordo de un barco que
zarpó desde Buenos Aires con destino a Lisboa y que lo llevó a recorrer y habitar varios países de
Dinamarca, Francia, Alemania y Chile.
Christian Olivares was born in Valdivia in 1944.He studied painting in the Fine Arts School of
the University of Chile, where he received a first class formation from teachers such as Matilde
Pérez, José Balmez and Eduardo Martínez Bonati. A tireless traveler since he was young, Christian
turned 18 years old on a ship that sailed from Buenos Aires to Lisboa, allowing him to visit
and live in several European countries such as Denmark, France, Germany and Chile.
No tiene casita ni rutina organizada en que encerrarse con su pintura a salvo de los incidentes. No repite los gestos ni las formas, lo que le parece un aburrimiento y una prisión. Se extraña cuando le preguntan por su “estrategia visual”, rúbrica en la que reconoce tan sólo una metáfora de guerra (también el pánico curatorial ante la falta de homogeneidad domesticable).
He has no house or organized routine in which to lock himself in with his work except for different incidents. He does not repeat gestures or forms; this seems boring to him and very similar to a prison. He is surprised when people ask him about his “visual strategy”, to him this is like a metaphor for war (also the curatorial panic at the lack of domesticable homogeneity). He has no house or organized routine in which to lock himself in with his work except for different incidents. He does not repeat gestures or forms; this seems boring to him and very similar to a prison. He is surprised when people ask him about his “visual strategy,” to him this is like a metaphor for war (also the curatorial panic at the lack of domesticable homogeneity).
CHRISTIAN OLIVARES HUYE DEL ESTILO PERSONAL
CHRISTIAN OLIVARES RUN AWAY FROM THE PERSONAL STYLE
La ventana / The window 190 x 240 cms
La puerta / The door 180 x 210 cms
Un cuadro mío me gusta cuando ya no es mío, cuando me es ajeno, cuando me siento frente a la pintura y me parece como si la hubiese pintado otro. No me gusta reconocerme en un cuadro... Cuando el cuadro está contento contigo, te pone una buena nota, una buena cara.
I like my paintings when they are no longer mine, when they are foreign to me, when I sit in front of a painting and it seems as though someone else painted it. I do not like to recognize myself in my work… When a painting is happy with you, it gives you a good grade, a good face.
El toro / The bull 180 x 210 cms
Animales / Animals 226 x 300 cms
La dama de la camelia /The lady of the camellia 208 x 260 cms
El método –el camino– es escuchar antes de hablar: más que transformar el mundo mediante la mirada de un estilo personal, busca responder con una pluralidad de estilos al aroma y llamada variable de las cosas. Toda una inversión en la jerarquía de los sentidos, la que resulta tanto más sorpresiva en el caso de un pintor. Pues,
¿Qué vendría siendo para la pintura este privilegio del mundo olfativo sobre la intencionalidad de la vista?
The method – or the way – is to listen before speaking; instead of transforming the world through one personal style; respond to the various calls of things and their aroma with a variety of different styles. This means turning upside down the hierarchy of our senses, which may result as a surprise in the painter’s case. Because, in painting, what is the meaning of putting the sense of smell over the intention of seeing?
La mesa / The table 180 x 150 cms
La ventana I / The window I 180 x 150 cms
Flores / Flowers 200 x 140 cms
Flores I / Flowers I 200 x 140 cms
Desierto florido / Flowering desert
150 x 200 cms
El perro Carlitos corriendo libre por la playa, que tras unas horas de trabajo quedó vibrando para siempre en un cromatismo de pasteles.
The dog named Carlitos ran free across the beach, after a few hours of work, he stood vibrating forever in a chromaticism of pas-tel colors.
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Perro Carlitos / Dog Carlitos 150 x 180 cms
No es de extrañar que Olivares haya pintado poco; o, más bien, que haya terminado poc-os cuadros, nada comparable a lo que se es-pera de un artista profesional. Y es que más que corregir sus pinturas, las transforma una y otra vez, completamente. Algunas las ha realizado en un par de horas y no las ha vuelto a tocar: así con una papa que lo interpeló mientras hacía puré, la que dejó hipostasiada e inmóvil en una atmósfera nórdica.
No wonder Olivares painted very little, or rather, finished few paintings, nothing com-pared to what one expects from a profes-sional artist. More than correcting his paintings, he transforms them complete-ly once and again. Some he has created in a couple of hours and has not touched them again: that was what he did with a potato that questioned him while he was making mashed potatoes, leaving it hy-postasized and still in a Nordic atmosphere.
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
La papa / The potatoe 190 x 300 cms
Flores II / Flowers II 140 x 200 cms
Bosque de olivos / Olive grove 220 x 320 cms
“Cada cosa tiene su propio canto, canta de
manera diferente”,
advierten los indios anasazis; cuando los
objetos hablan, lo sabe Olivares, hay que
responderles en su propia lengua.
“Everything has its own song and sings in a
different way,”
say the Anasazi Indians. When an object speaks, we
must be able to respond to it in its own language.
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Olivo fuego / Olive fire 180 x 210 cms
Olivos / Olives 180 x 210 cms
Olivo / Olive 180 x 210 cms
140 x 170 cms
180 x 130 cms140 x 170 cms
