“… The work of Marcos Garrot assures him a significant place among the Brazilian constructivists, which constitute one of the most solid and competent groups of the country creators.”
Enock Sacramento
RF – What is the role of the color in your work?
MG – The color is used to create a plan of geometric shapes that are superimposed to the original shapes created by the metal folds. It intensifies the effect of movement and depth. In bi-dimensional works the change of plans, light and perspective, are accentuated by color, which is not always flat or in plateau.
I prefer using monochrome variations and high-contrast.
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- Untitled, Marcos Garrot, 2014, painted iron, 17 cm x 25 cm x 12 cm (6.6 in x 9.8 in x 4.7 in)
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- Untitled, Marcos Garrot, 2014, drilled screen and painted on wood, 160 cm x 160 cm (62.9 in x 62.9 in)
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- Untitled, Marcos Garrot, 2006, painted iron, 50 cm (19.6 in) diameter
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- Untitled, Marcos Garrot, 2005, painted iron, 150 cm x 124 cm x 6 cm (59.0 in x 48.8 in x 2.3 in)
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- Untitled, Marcos Garrot, 2015, painted iron, 17 cm x 25 cm x 25 cm (6.69 in x 9.84 in x 9.84 in) diameter
RF –Â What is the role of light and shadow in sculpture?
MG – In the case of three-dimensionality, light and shadow define the plans, exhibit or omit reliefs, create and / or change colors, favouring the meaning of the images. To think the light is also to be able to predict the outcome of the shadows.
RF – Who are the Brazilian artists that influenced you most?
MG – All artistic quality production influences me. Therefore I could not name one or a few specific ones among many that I admire; it would generate me a lack of time and space in this interview. I like to see how great artists have used or use their techniques in their creations; certain aesthetic solutions interest me and influence me.
RF – What are today the major challenges of contemporary Brazilian art?
MG – I think the ability of not getting lost in the hype and purely commercial climbing chances that sometimes, turns a simple object into a financial system generator. One must be tuned with the world production without losing their own identity, their roots.
RF – What is the role of education in the formation of a contemporary artist?
MG – Education is the basis of the formation of any individual, whether or not an artist. The combined statement to information on the art world is vital for those who follow the path of the arts. It is necessary to know your skills.
RF – What will follow the contemporary art?
MG – If we consider the contemporary term as “present time”, then all production done in your time will be contemporary and therefore so will remain. Now, if we consider as a “current art style,” then I think that, as in all other times, only real qualitative works will remain. The rest (and our current contemporary art production is a big part of it) will fall into oblivion.
RF – What will remain after around fifty years of our contemporary art world?
MG – Perhaps what best represents the characteristics of thought and our society’s behaviour, our habits, choices and History. Not necessarily selected by fame. Because there are a lot of important artworks without any fame as well as many famous works of no importance at all. What is important is striking and famous as a result and not as a basis.
RF – What is a great sculpture?
MG – It depends on which sculptural language we are commenting, but I think in general, the lines, the balance, the planes of light and shadow, the adequacy of the material to the proposed form and dialogue that it can establish with the viewer, are important elements in a successful sculpture.
Published: April, 2016