CH.89: If you were to categorize or describe the style of your artwork, what would it be and why?

MO: Brutalist, because my visual and conceptual references go back to brutalist architecture. 

CH.89: Where do you draw your inspiration from?

MO: Brutalist architecture and HardEdge.

CH.89: Can you talk a little bit about what your creative thought process is like when starting a new project/ piece of artwork?

MO: I start by looking at a lot of reference images of brutalist architecture and then I practice deconstructing the forms either mentally or practically, I move on to various sketches until I reach the ideal.

CH.89: Is there anything in particular that you would want people to take from your artwork?

MO: How brutalist architecture has played a very important role over the years and how it can influence today’s painting practice.

CH.89: Can you talk a little bit about your lifestyle as an artist and what that is like?

MO: Everyday I sketch, paint, do canvas, conceptualize ideas that come up, it’s a back and forth of configurations, I may come up with something in a day or just continue on the way to a final sketch.

CH.89: When starting out an artistic task, do you think it is better to have a particular direction/set plan guiding your way? Or, is it better to act on impulse and go from there?

MO: It is very useful to have a fixed plan of what you can do in a week or in a day, which can cause the direction to change and that’s not bad, as long as the language is the same, and to give the impulse a chance in the sketching exercises.

CH.89: What is one major lesson you’ve learned as an artist thus far?

MO: That nothing is absolute and everything changes and the initial idea can mutate along the way.

CH.89: Do you regard personal style & taste to be of highest importance?

MO: I consider that having notions of design and visual arts are basic. As for configuration and aesthetics, to have the curiosity to know and investigate artists, currents, important works, movements and many other things is important in order to have a path of infinite possibilities.

CH.89: What do you consider to be the hardest thing about being an artist?

MO: Getting out of creative blockages or stagnations that one may have in the process.

CH.89: What is one thing you love about being an artist?

MO: The infinite possibilities one has to express oneself.

CH.89: Is there anyone in particular, any artist’s that inspire you in any way?

MO: I admire Dieter Rams for being a key figure in the renaissance of fundamentalist design. 

CH.89: What do you think of technology in terms of being a useful tool for artists today?

MO: I think that leaving them as tools and assistants in the creation of new ideas encourages creativity and new ways of making art.

CH.89: Do you think being an artist allows you to view the world differently from those who don’t follow creative paths?

MO: Yes

CH.89: Do you enjoy traveling? If so, do you have a favorite city?

MO: Yes, Munich

CH.89: Do you have a favorite author or book?

MO: José Emilio Pacheco

CH.89: Any future goals or plans for your artwork?

MO: Yes, to never lose the curiosity to innovate the ways in which I express my work.

CH.89: What does being an artist mean to you?

MO: Having the tools and creative possibilities to be able to communicate something specific.

CH.89: What’s the last song you listened to? 

MO: The mistral noir / Daniel Herskedaal Slow Eastbound Train

CH.89: Any last words on the aesthetic of your artwork?

MO: I retake the conformation of geometric compositions as a reference to the forms and conception of Concrete Art and Brutalism, from its historical booms to the traces that in the present maintain the impact of its origins. 



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