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46 BERLIN Faces By Fleur Helluin “When it comes to the future, there are three kinds of people: those who let it happen, those who make it happen, and those who wonder what happened.” John M. Richardson. KALTBLUT is here to introduce you to some of the kind who make it happen. They are extraordinary, creative, outstanding, special, notable and unique and they will change the world soon. That’s why we have to keep an eye on these three people and you better do the same. Photo by Marcel Schlutt
47 concentrated amount of information. Darkness is needed as counterpoint of light to give her a sense. Some of my early work plunges into darkness to come back with a reflection of the self concentrated in high symbolic pieces. KALTBLUT: Is there a light at the end of the tunnel? Beatriz: There is even light in the most absolute of darkness. No tunnel out there. KALTBLUT: Some of your projects are very elaborate and quite complex, like Interstitial, while some of your pieces seem to flow naturally. How do you make a difference and how do you see your different pieces co-existing? Beatriz: The different kinds of artistic expressions are for me like different languages. My discourse in art is permanent, it is part from some seed convictions, I’m questioning myself, which I try to understand and solve through art. Depending on what I want to explore or explain, I decide which one of it is more interesting. The writing, the performance, videos or installations, collaborative and participative art, drawings or paintings… all of them flow in a very natural way. Some look more complex because the questions were also complex or because the answers had been very abstract cooking inside me, and concentrating like a short poem, in which all the different meanings of each word are in the play... KALTBLUT: What is your favourite black thing? Beatriz: Coal with its shimmery hard surface, and the vegetal charcoal from willow. It’s like velvet for the eyes. So delicate and deep in his tone. Beatriz Crespo is a luminous young woman full of talents. I met her at the Neukölln gallery EXPO, and was soon surprised by how elegantly she managed forms and power in her work. I kind of thought she’d be a woman who wouldn’t get scared in the dark, so I interviewed her to find out. KALTBLUT: Dear Beatriz, what was your darkest hour? Beatriz: I broke my right hand last year in an accident. The healing time was long and full of incertitude. I nearly went crazy… but all this impotence and energy shouting inside me, ended flowing through the left hand. Now I’m ambidextrous! KALTBLUT: Why do we draw in black so often? Beatriz: The act of drawing a black line over paper or a surface, is determination, you take a position in which you divide the space and lead the eye trough the narrative of your discourse. Then black lines are incredibly graphic, I love this characteristic in art. When you take some black bituminous colour, or coal or charcoal and you start to make some Graphism, it has something quite strong and primitive about it. I like to think that in this primary act of tracing a line all this energy of the human being of past, present and future eras is conveyed. We are repeating the same act once and again and this act takes you to the origins, to the primitive. KALTBLUT: How do you cope with dark times? Beatriz: You may learn quite quick that it gets dark at 4pm during the winter here in Berlin, but that’s already perfect for me. I‘m a painter of the night, I work with the low light and during the slow rumours of the night that I paint my best. I like to see the darkness as a KALTBLUT: Is black the new black? Beatriz: Definitely! (laughs) KALTBLUT: Where shall we meet in five years? Beatriz: Somewhere in the East... KALTBLUT: 2013 recently came to a close, what were your last projects of the year? Beatriz: I opened another solo show in Valladolid Spain. It was a show called “Soul’s Topography” that was selected by the CreArt European project. Addressing the human body from unusual viewpoints, I concluded ethereal works in which the male’s physiognomy becomes a rugged landscape carved by the passage of time. “Topography of the Soul” is an ode to man and the beauty implicit in the erosion caused by the experience. Following this exhibition, I explored how our brain attempts to hold images and memories that are meaningful. I tried to paint or represent my memories and tried to deal with the holes that time created in them. www.beatrizcrespo.com
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