With a philosophy rooted in discipline and an innate drive to challenge conventions, Christian’s work captures the complexities of the human experience. From questioning the artistic process to reflecting on the therapeutic power of creation, this conversation delves into the artist’s journey, exploring the principles and insights that continue to shape a practice dedicated to authenticity and evolution.
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How do you challenge yourself to continually grow as an artist while remaining true to your voice?
I challenge myself in several ways to grow as an artist, and one of them is very important: I have an unbreakable rule: always push forward! That means not to solve an image always in the same way, leaving my comfort zone, and taking other paths, to see what happens. That's why I try to pay attention and do something in my painting that I couldn't or didn't get to do in the previous one. I always know that in the next one, I'm going to try to exploit what seduced me, therefore, I don't force it. Sometimes, there are parts or areas within my paintings that attract me a lot, occasionally I do them because I look for them and other times they come out accidentally, but the interest always comes from the language, it can be a contrast, a passage, a palette, a composition, an atmosphere, several things. The “Theme” is not within my framework of interest. On the other hand, it motivates me to see what the great artists who are working in the world today do, it catches my attention how they solve something in a different and brilliant way at the same time, situations that we all paint.
Has there ever been a time when the creative process felt more like a burden than a joy? How did you navigate that?
Yes, several, to tell the truth. Even To the point of questioning my choice of an artistic career. Sometimes you can be very critical of yourself. In my case, because of my life story, I reached the point of demanding too much of myself. There is a book written by a model of Giacometti, who wrote in a journal everything that happened in each pose and it is striking to see how, already being a brilliant, successful artist with a great career behind him, Giacometti insulted and ranted when something didn't work out, when he couldn't paint something, let's call it simple. With this I mean that the pictorial act is not something easy, and because one is not the same every day, internalizing this could be hard.And regarding the load, I would like to add that we should not look at it as something negative, quite the opposite, I say, if one sees it with an X purpose, that weight makes us stronger, it benefits us, we come out better than before after having carried all that load. So going through that can be something desirable.
Under what circumstances do you think art risks becoming pretentious?
In terms of need, unfortunately, art is limited to what a buyer asks for: a style, a theme, a technique, and that harms the work itself. Also, there is the human condition itself, ego, money and fame, they are cultivation factors that contribute to something that was on the right path fading away and losing artistic value. In some cases, success also acts to the detriment of the work of art. Unfortunately, the vanity of the need for attention makes us stay in our comfort zone and something that works for society: good reviews, sales, awards, make us grasp a style, a theme, etc. and we get involved in that vicious circle.
Can art be truly therapeutic? Have you experienced its healing power personally, or seen it impact others?
Yes, I have clearly experienced it. I began to understand myself as a person with a certain character structure, starting from the pictorial act. It was, from a phrase by Lucian Freud, who says that: “Every painting is a self-portrait”. When I assimilated what Freud meant, I decided empirically to put all my paintings in front of me and see who I was, beyond a painter. I saw that I was walking very, very fast in an endless search of wanting to be. The painter that I was, told me who was the person behind that painter, and if I wanted to change the painter, I first had the obligation to change the person behind the painter. At that moment, I decided to stop and go slower, enjoy, and observe my object of study with extreme attention, with patience, enjoying the process more than the result. And that more serene, more contemplative painter, with more enjoyment, modified the person who began to see life more serenely, more contemplatively and to enjoy more. Since that moment I modified many things, others I am still trying to modify, but yes, my character structure changed for the better and I let go of behaviors and patterns that were not positive for my life.
Artificial Intelligence is increasingly infiltrating creative fields. Do you see artificial intelligence as a threat, a tool, or a collaborator in the art world?
When the debate about AI and art came up, my survival instinct immediately saw it as something threatening, but after this sensation came Walter Benjamín and his book “The Work of Art in the Age of Technical Reproductivity.” I believe that reflecting on technology and the change in aesthetic perception makes, what Benjamin called “the aura” (as unique and unrepeatable that transforms the viewer's relationship with the work of art) magnifies its presence, exalting the manual task. along with the knowledge made by a human. Yes, unfortunately, it is true that almost the entire art scene will be flooded with AI, which will bring labor problems, copyright, editorial and other problems, but it is a discussion that can uncover better things for artists.
Has social media democratized art or diluted its value? How do you feel platforms like Instagram influence modern creativity?
I like to understand the images of works on networks as a kind of trailer of what the physical work can be. Nothing that we see in five square centimeters and not with the best resolution can be seen as the work per se. That's why real paints will never lose their value. I see these technologies as something positive, where each artist can be independent, show what they do to the world in a more democratic way, and so to speak, bypass art validators. Now, from another antagonistic point of view, there are algorithms that decide what to show massively and something much more terrifying, is the time that an artist has to spend putting together videos, tutorials, etc., taking away space from their artistic practice.
What are five things you do to overcome creative blocks or feelings of discouragement?
✧ Immediately leave what I am doing in time and space, and do something totally different. Sometimes when we spend too much time on something, we realize that there comes a time when we lose sight of it, we see it so much that we do not see it. I think that clearing your mind with something else and coming back later with fresh eyes makes you appreciate better what you are doing.
✧ I attack discouragement with discipline, I force myself to paint. I pay dearly for a day without painting to reach the level I was at.
✧ Being proactive and attentive is what keeps me from feeling "lost" in the future. I have a bank of images that I am always consulting, assembling, cutting, or photos of a pose that I am interested in a model doing.
✧ Don't despair, that cost me a lot of nerves. Being calm and serene puts me in focus for what is to come. Sometimes it´s a little bit harder, but getting upset internally because something doesn't work out, it´s not good at all, you don't work well and it shows in the painting.
✧ Looking at paintings, seeing what other painters around the world are doing. Sometimes seeing what colleagues are doing awakens something in the unconscious that I want to do, that I don't see at the moment. And most importantly, seeing good art motivates.
What are five steps you’re taking to ensure your continual growth as an artist?
✧ The first and most important is discipline, painting every day is essential for me, although sometimes it is not possible, I am always drawing, seeing, thinking, and reading, I try to stay focused.
✧ Being present on the networks, 80% of the things that came out to me were proposed on Instagram.
✧ Participate in calls, contests, salons, exhibitions, scholarships, residencies.
✧ Learn something new every time, not to settle. I am always surprised and excited by the things I incorporate, they make me grow.
✧ Experimenting, trying new things that I haven't done or haven't worked on much, new combinations of palettes, other ways of approaching a painting, trying other paths motivates me.
How do you envision the evolution of your work in the coming years?
I believe and hope that it is something that will come from research, always in the field of figuration. At this stage I am in small sizes with oil, I estimate at some point I will work on larger sizes, with acrylic, oil, stencils, rollers, and aerosols.
What are your long-term aspirations as an artist, both personally and professionally?
Personally, I aspire to continue with my obsessions, to be able to project onto the canvas the painting that I have had in my head for years. Professionally, in 2024 I had the experience of having one of my paintings shown in Barcelona and also in Turkey, It was truly an amazing feeling, which is why I would like to do a show outside my country. I haven't taught classes for some time, since I use the time I have available to paint, but I'm also excited about the idea of teaching classes or a workshop again, something short-term could be feasible.
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Christian Dalla’s approach to art is as much about personal transformation as it is about creative expression. With a dedication to exploration, a refusal to settle within comfort zones, and an enduring respect for the nuances of the artistic process, the work bridges the technical with the introspective. This dialogue is a compelling reminder of art’s ability to both challenge and heal, offering inspiration to anyone navigating their own creative journey.