Briefly describe the work you do.
It is precisely in the hidden recesses of the picture where my work is displayed. Through a decontextualization of images and objects, fragmented at times, he reveals exactly how far appearances can deceive. Nothing is what it seems. So what from a distance appears to be a boat, becomes when seen up close a structure made of felt, clearly incompatible with its function: on contact with the water the textile would no longer fulfill its given purpose of remaining afloat on that water. Like Magritte, I think that all representation is an artifice and he bases himself on the agreed acceptance, and not on the nature of things. On the contrary, very often the material of the object contradicts the apparent function of the image.
Tell us about your background and how that has had an influence on your work and on you as an artist.
After working about seven years in advertising productions and check the constant use of fiction in this and other means, as lies to find a target, I decided to undertake the task of giving expression to his opinions on the subject. To do this I situated myself within the suggestive and deceitful reality of objects, their narratives and their perception. I realised that the structure of truth and lies arises from beliefs and not from reality: that beliefs are what count, and that if the light from a window is brighter or darker, if it broadens or lengthens or is reduced or attenuated, the reason that explains it must be sought in the conditions and wishes of observation and not in the objects themselves, which are just as we find them or situate them. Mysteries, cadences, incongruities, are projections by the viewer who, if he were situated in other conditions, would produce other views. If we clear away all nostalgic feelings and phantoms regarding the beauty of deceit, with drawings, photos, two-way mirrors, videos, screens, models, sounds, spotlights or structures, the credentials of the current objective are achieved.
The concept of the artist studio has a broad range of meanings in contemporary practice. Artists may spend much of their time in the actual studio, or they may spend very little time in it. Tell us about your individual studio practice and how it differs from or is the same as traditional notions of “being in the studio.”My studio have two spaces for two different processes. One is for the mental or conceptual process and the other is for the physical process, It is not far from the traditional notions of the artist studio.
But I spend a limited time in the studio, because normally I’m traveling with projects, exhibitions, residences, etc… This forces me to make the most of my time outside and inside the studio, or the others places that I can use like my studio, like hotel rooms or the studio of the residences… Even when I can’t have any space then I have my laptop.
What roles do you find yourself playing that you may not have envisioned yourself in when you first started making art?
When I studied Fine Arts I wanted to be a painter… Now I’m something more complex, I work with different medias, talking with easy words: I’m something like a sculptor but no, I’m an artist, the limits now are broken.
When do you find is the best time to make art? Do you set aside a specific time everyday or do you have to work whenever time allows?
I’m working every time, every time is good for get a good idea. Into the crowds or alone,with family, friends…
How has your work changed in the past five years? How is it the same?
My work is the same, but in a conceptual progress. Experience causes changes in the work and acquire new elements, however my interests are the same like five years ago.
How have people such as family, friends, writers, philosophers, other artists or even pop icons had an impact on the work you do?
Every-thing, like every-person have impact over my work. Because my work talks about us, I’m doing something like a social art, from and for all.
Have you ever been pulled in the direction of a pursuit other than being an artist? What are your other interests?
No, I’m a full time artist now. I need a lot of time for try to do good works.
Jaime de la Jara (Madrid, 1972), graduated in Fine Arts at Universidade Complutense de Madrid. Since then has won several prizes and grants, including the: grant of Fundación Marcelino Botín, the prize Creación Artística de la Comunidad de Madrid, the grant Pilar Juncosa Joan Miró / Sothebys, the prize Art Situacions / Honda Transart, the second prize of the Bienal de Fotografía Purificación García, the grant of the artistic residency for Iberoamericanos of FONCA / CONACULTA (Mexican Government) and the Celeste Intentational Art Prize in Rome. More recently, has won the grant of Pollock-Krasner Foundation, of Harriet and Esteban Vicente Foundation and was, over the last four months of 2014, in residency at the Yaddo Corporation, in NY.
Since graduating has received several invitations to participate in both collective and individual projects and has also produced works for different exhibitions, selections and awards, among them: in the chapel of Museo Patio Herreriano de Valladolid, at the Centro de Arte Tecla Sala de Barcelona. Was also present in the editions of the prize Generaciones de Caja Madrid 2005 y 2006 at the Casa Encendida, with honorary mentions.
Participated in the selection of young artists Destino Futuro – curated by Oliva María – in the rooms of the Botanical Garden of Madrid. Presented an individual project in Loop ’07. Participated in exhibitions with selections of the most representative artists of Spain with the curatorship of Lorena Corral/María Corral and Virginia in the projects Planes Futuros y Ocho cuestiones espacialmente extraordinarias respectivamente.
Was always present in the programming of Galería Fúcares in Madrid with which has collaborated from 2005 to 2011. Having presented there the projects 15 Inches and The Navel. Now is represented by Filomena Soares Gallery from Lisbon, where he did his last solo exhibition, The Skin (2015).
His work is represented in collections, such as: Museo Patio Herreriano, Fundación Repsol, Fundación Coca-Cola, Fundación Bankia, Fundación Marcelino Botín del Banco Santander, Museo Artium de Arte Contemporáneo del País Vasco, Fundación CAM, CA2M de la Comunidad de Madrid o Vocento.
All images copyright of the artist and used with their permission.