Julião Sarmento Explores an Imaginary Relationship between Degas and Duchamp

WHITEWALL: Given the distance between the style and time period of Degas and Duchamp, how did you envision these two interacting?

JULIÃO SARMENTO: The “terra incognita” is not just about the fictional relationship between the two artists, but between specific works, as well: Degas’ Little Dancer, Duchamp’s Why Not Sneeze Rose Sélavy?, and Duchamp’s Large Glass. As far as how the two artists might interact, I leave that for the viewer to decide.

WW: The exhibition will also include geometrical paintings. How do these relate?

JS: There isn’t a direct, one-to-one relationship. However, the shapes in the paintings are a reference to fractal geometry. Fractal geometry is about creating things, building things. To create a sculpture, you have to build it up, to create a painting, you have to build it up. To create a relationship, you have to build it up.

WW: You say you consider yourself a “builder of enigmas” and that you don’t like to analyze your own work. If you could mark some themes that pervade your work, what would they be?

JS: I’m always interested in what I don’t know. I’m interested in asking questions. For me, my work is not about making statements, it’s about questioning things.

WW: Parts of female forms in your paintings and drawings are often erased, creating a mysterious effect. Can you elaborate on this process?

JS: When I make a painting, I like the history of the painting to be evident. There should be traces of the process of making that work that the viewer can see. I could erase all evidence of the previous lines, but I want the process by which the image is created to be evident.

WW: You also used 3D printing to manipulate images from Degas. How do you see the juxtaposition between digital and hand-crafted works?

JS: I don’t see an important juxtaposition regarding digital versus hand-craft processes – these are merely tools. They’re different tools that I can employ to create something. It’s just a matter of picking the right tool for the task.

WW: You also have two solo exhibitions in European museums. Can you tell me about these?

JS: The exhibition in Nice will be a mini retrospective of sorts. The exhibition in Torino will be about a relationship between my work, the work of Sol LeWitt, and the work of Giorgio Morandi.

“Terra Incognita” will be on view at Sean Kely Gallery through May 3.