Unedited conversations between artist in a productive critique discovering thesis and processes behind the work.
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Acrylic on Canvas
11 in. x 14 in.
RAMOS: Hi Kayla
Thank you for joining me
DELACERDA: Its great to talk
RAMOS: ever since Domingo and I had a conversation about your video, i've been wanting to speak to you about your work.
DELACERDA: that's good to hear. I was happily surprised to see that you guys talked about it
RAMOS: well - it was such a great project - deep rooted in Miami
are you from Miami?
DELACERDA: yes i was born here and have never lived anywhere else
RAMOS: that's rare I think
but it makes you a great insider
DELACERDA: yeah most people come from somewhere else or get out as soon as possible
yeah i've left a few times, but have this urge to always come back and I'm always happy i do
DELACERDA: yeah i get home sick when i leave but i am dying to see the world
RAMOS: well today there are ways to see the world without moving
i'm sure that's not what you mean
DELACERDA: yeah sometimes i just spend time on google maps street-view just to explore from my bed
RAMOS: yes - soon we'll have VR access to anywhere and we can walk around as if we are there
it's not the same as being there - but it is a good educational introduction
let's get back to your work
RAMOS: i somehow imagined that you were a video focused artist
this is not so - i see that you are painting as well as using photography as a source of installation
DELACERDA: yeah all over the place
RAMOS: what's your favorite medium?
DELACERDA: to work in or in general?
RAMOS: to work - both - tell me both
DELACERDA: I think i like to work with ideas before deciding a medium.
I like sculptures alot
making them and being around them
RAMOS: theory before practice
do you sometimes learn from your work - or by making?
DELACERDA: yeah i barely have a practice
RAMOS: then how do you test ideas?
DELACERDA: i will test ideas whenever but by practice i mean a consistent constant flow of art making. i'll have an idea and it'll get executed or tested after unpredictable periods of incubation
RAMOS: which is fair
ideas take different time to be ready for testing
and the incubation time is in itself a form of practice
in fact the idea incubation and the work is what makes the practice for me
DELACERDA: yeah i like it when i think of something and work on it for a
RAMOS: living it is another huge component
as an artist how can you reflect a world you don't experience one way or another
without living there is nothing to talk about but technique
or empty strategy
i mean im talking about her dropout piece and her notebooks.
like i dont see on kawara's private life in his work
RAMOS: private life and life experiences can be two things
but his work, as simple or mechanical as it may seem, had to come from somewhere personal - don't you think?
DELACERDA: yeah of course it was his life, thats what he spent his time doing
so it of course comes with that weight
RAMOS: do you mean his work was his life?
instead of a reflection of life as he saw it?
DELACERDA: i think he spent his life making his work everyday working on these dates and numbers, and thats not instead of his the work being a reflection of life, i think about it and both those things become one
the reflection of life is the dates and numbers
and he spends all day with his dates and numbers
RAMOS: so then in your opinion - his days meant but a number to him?
DELACERDA: i think the days meant sending a postcard, or making a date painting, or typing up years
and he practiced and dedicated his life to introducing life as numbers for the rest of us
dates and time. we are aware of the individual weight and importance of each day behind the date.
RAMOS: and it is different for everyone
so how is his work different from a calendar?
DELACERDA: that has to do with function, the purpose of a calendar, versus the purpose of an art work. but also he isolates and collects days and years and time completely differently than a calendar. you can look at one date staring back at you or you can be in the presence of a library or collection of one million dates
RAMOS: so much happens in one day
i guess the best way to archive is by dates
something we all have in common
we were all there
that date has touched everything that is
DELACERDA: well its kinda funny
cause that makes me think of people i know that are older than me who have existed so many days experiencing so much before that i will never be able to
RAMOS: right but at the same time you have so much more to experience
DELACERDA: yeah thats wonderful and terrifying
RAMOS: why terrifying?
DELACERDA: cause the unknown. its really not a big deal. i can handle it. its just an unfortunate perspective i have tonight
RAMOS: perspective can change by the hour
the unknown is exciting
especially in a world of exponentials
DELACERDA: yeah i can feel that when i look at the today series
so much unknown in each day
RAMOS: what do you mean "the today series"?
DELACERDA: the date paintings by on kawara
RAMOS: you mean when you look at the recent paintings of dates?
DELACERDA: well i wonder at the unknown of a random date that was painted
RAMOS: a future date then
you know what has happened on any other day
DELACERDA: no even past dates
cause like june 16, 1966
dates you didn't live
DELACERDA: like imagine all the people who lived through that day. what happened that affected the whole world that day, who was born or died on that date, the unknown importance of that date or life a hundred years from that date
RAMOS: but you can think that about any day
DELACERDA: yeah but its a painting now