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LiveIbiza: One of your most famous
sculptures is "Es Verro" (also known as "The
Shouting Man") in San Antonio. How important is this
statue to you?
Antonio Hormigo: I understand that
"Es Verro" is very well known but it's definitely
not one of my best sculptures.
San Antonio council asked me if I could
make a monument to honour the farming community of San Antonio.
I didn't feel that a statue of a working
farmer would be right so I thought maybe a "verro",
who was the town's tough guy, would be more appropriate and
I decided to sculpt him shouting an "uc", which
symbolizes the start of a local fiesta.
The aim of my sculpture was to represent
the positive side of living in San Antonio.
The monument was inaugurated in 1977 and
sometimes I think that if I had to do it again maybe I would
have done it differently.
Another reason why "Es Verro"
isn't one of my favourites is the fact that it's made out
of stone. Wood is definitely my favourite material.
LI: Is that because wood is easier
to work with?
AH: Yes, I find it very pleasant
to work with. I tend to use all types of wood, everything
ranging from the normal pine tree to olive and oak trees,
but nearly always Ibicencan wood.
Although I have to say that the type of
wood isn't really important to me, it's the shape that gets
my imagination going.
LI: Where or in what do you find
inspiration?
AH: I get my inspiration from the
grain and the natural shapes in the wood.
I always try to incorporate the branches
into the sculpture and work with what I have, without adding
any artificial parts.
The natural branches are strong but false
extensions are weak and unnatural looking.
I don't usually plan what I'm going to sculpt
before I start; I just let the wood inspire me.
Even when I do plan out my work it usually
ends up being the complete opposite to my initial idea.
The olive tree and the carob tree I would
have to say are two of my favourites as their shapes are so
diverse.
LI: As an active sculptor you must
use a lot of wood, where do you get your materials?
AH: I have never cut down a tree
in my life so I can definitely say that my years of work haven't
affected Ibiza's environment.
Actually, one of my best sculptures was
made out of a large piece of driftwood. Even to this day I'm
still not sure what type of wood it was. Some people believe
it was beech but, as I said earlier, the type of wood isn't
really important to me, it's the character of the wood that
matters.
So, in a way, you could say I also recycle
as well as creating art.
LI: On average, how long do you take
to complete a sculpture?
AH: It all depends on the size of
the sculpture but usually no longer than five months. I work
every day on various pieces at the same time. I have no time
limit so if I get stuck on one sculpture I just move on to
the next.
LI: Do you consider that the significance
of your art is easily captured?
AH: I believe that no one but the
artist knows the real meaning of his or her art.
Most of my sculptures are not difficult
to understand but there will always be some hidden meaning
that only I will know.
LI: Do you think art is a profession
that can be taught or is it a gift you are born with?
AH: It can be taught but it all depends
on the person. If there is art on the inside, it's always
easier to develop art on the outside. But, as I say, it depends
on each individual artist. I consider myself to be very lucky
because, in a way, my art has always came from the inside.
LI: Do you think it's easier to be
artistic if you are brought-up in an artistic environment?
AH: Without a doubt. I was surrounded
by art from early childhood; my father was an artist and my
brothers were also very artistic.
For me it all seemed very natural.
LI: One of the main characteristics
that define your art is the fact that most of your sculptures
haven't got facial features, why?
AH: After many years sitting with
my father all day in his workshop making little wooden faces
that would later be made into bracelets and necklaces to sell
to the tourists, I have developed a certain phobia to sculpting
faces.
I suppose I'm rebelling from all those years
of being stuck in my father's workshop!
Another reason my sculptures lack defining
facial expression is because I don't feel I can take the liberty
of adding personal features because I haven't got that information
about the character.
Although, most people find that my art transmits
enough sentiment and expression without the need to focus
on minor facial type details.
LI: Rumour has it that Anthony Quinn's
son, Lorenzo Quinn, is one of your many admirers.
AH: Lorenzo Quinn is just one of
many artists that I share a strong friendship with.
I still remember the first time Lorenzo
came to my house to see my work.
He is a very nice man and I have great respect
for him and his art.
LI: Who buys most of your work?
AH: Mostly people from outside Ibiza,
which is one of the reasons why I don't exhibit much on the
island.
The German people seem to admire my work
more that others and are my best customers. However, my latest
project is a sculpture of a dove for an English man, which
I'm going to call "Dove of peace, trophy of war".
LI: Have you any exhibitions planned
for the near future?
AH: I hold an exhibition every two
years in Can Berri gallery in San Agustin.
The next one is planned for 2002 and I have
already all my sculptures completed.
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Ensoñación - 1978
Almendro, 70 x 35 cm
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Hemicránea - 1978
Algarrobo, 65 x 40 cm
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El Reposo - 1979
Olivo, 46 x 33 cm
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Espantapájaros - 1979
Sabina, 130 x 50 cm
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Mujer Con Paloma
- 1983
Pino, 70 x 60 cm
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Amazona - 1987
Pino, 90 x 80m
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All
Pictures courtesy of Antonio Hormingo Escandell
Louise Wright
louisewright@liveibiza.com
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