FOR ALL THE COLORS WE'VE LOST IN OUR BATTLES

Alberto Zita

#196 Winter

Alberto Zita is a self-taught artist born in Maputo. Writing and painting have been a passion since young age. While still in Mozambique, Zita participated in several art competitions organized by National museum of art and was twice mentioned as the prize winning artist. Along with “casas na floresta”, his painting "menino do suburbio" was selected for BIENAL TDM and later to FUNDAC - a private organization founded by former mozambican president Joaquim Chissano, dedicated to promote peace, economic and cultural development in Mozambique. In 2006, his painting “Suburbios da capital” received an honorable mention prize at VII national edition of visual arts. Later this year, Alberto came to destroy the painting under the pretext that as with the jury, something was wrong with it. It was not yet what the “suburbs in the city” look like. Having himself holding a prize for a nonexistent art, came to reflect the position how he is found standing in the artistic world as stated in one of his poems:

The artist’s statement

(Belgium)

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Alberto Zita

Standing against, distractions of the light;black is the magic out of my mindacting, behind these curtains as if

I exist alone.In my great solitude it was alrightall the things I used to hear and that

nothing else mattersmostly, when the light comes from the deep within.Let the curtains closed, let it be, in the dark

because that's exactly what all the rest refuse to seesomewhere else, deep within

when art is.

Righteous Exploits

performance, photo by Matt Lewis

“For me it's hardly enough. The thing is that my hands are too far away from the reach of my mind. So it leads me into a kind of fight within myself, a permanent need to explore it every day more and with such intensity up to the level I am totally out of my mind”. He says.

When Alberto got involved with a community based organization in Maputo he founded and coordinated social projects supporting specially children in difficult situation. “But working with children was more than that. There was something else, something greater than just working with children or being a teacher. Observing the drawings and all the nonsense lines full of art, I could see and understand the less childish side to be seen in every creative child. And that is the spirit art needs: quite childish, a little bit ignorant, and extremely free”, said Zita. After moving to Europe, his visions changed but his soul remained, intact. “It was a long trip and it took me really far. It helped me to put together this two pieces of the world and make something bigger than the distance between me and those I don't see for years now”.

“Out of my mind” is a composition of poems and short stories, portraying the course of our daily lives. The book is a mere reflection of an artist who tries to express in louder voice and paint in vivid colors his visions, his fantasies and dreams. The images and paintings in the book are not only meant to relate different realities in the same subject or simply to create a balance between Africa and Europe, but also to enrich the imagination of the reader by visualizing a very particular message, stimulate him for a wide vision and perception of the subject, free himself from the limitations of the mind and finally, invite him to get involved without excusing himself from the matter.

The book is now “under construction” and if everything goes as planned; it will be published still this year”. For more information and updates please contact Alberto Zita through the following page: www.albertozitha.weebly.com

Alberto ZitaSelf Portrait,

menino do suburbio

Alberto Zita

an interview with

Hello Alberto, and a warm welcome to Peripheral ARTeries. I would start this interview with my usual introductory question: what in your opinion defines a work of Art? And moreover, what could be the features that mark the contem-porariness of an artwork? By the way, do you think that there is still a dichotomy between Tradition and Contempo-rariness?

Art? I don’t know. And that’s how great art is. Per-haps, it is just the possibility to represent such state of mind; when one knows nothing about it! The artist is a tool sculpturing his own time and art is an everlasting product of that expression.

I believe we think different, deal and live in different times but I also believe that when it comes to expression anything else is allowed except definitions or restrictions of any kind.

We have always been free to represent the same art in the best way we feel it. I don't like to feel this line, this border, this tendency to divide art or define emotions. It is very confusing. I think the word ‘contemporary’ and ‘traditional’ in art is just an excuse to define or hold the grounds of a certain artistic style or group that, instead of being artists, has nothing else to do or say but to be contem-porary and traditional.

Peripheral ARTeries

An interview with

Alberto Zita

Alberto Zita

Would you like to tell us something about your background? Are there any experiences that have particularly impacted on the way you currently produce your artworks? By the way, I would like to ask your point about formal training... Sometimes I ask to myself if a certain kind of training could even stifle an artist's creativity...

Well, my childhood was marked by tough times and as I grew up struggling with it, I've learned a lot and at some point, my life and personality have been greatly affected in the process. It has a huge impact on my way of thinking today, the way I touch life and the way I feel it, and finally, on my creations. I try to share my story in a way that many people (specially children born to raise themselves) can related with as I tend to send them some light, stimulate them to move forward into changes without quitting the struggle which is very hard!Moreover, I am focused on social issues that direct or indirectly are responsible for our living condi-tions today. I have learned to unlearn many things and that feels good. To be able to live naked without being ashamed of your own when exposed in the mirror. I love the idea of being ignorant because it allows you to be without preconcepts, to act without precaution and to say without preparation. And that requires some amount of intelligence. When I came up with IGNORART, I was mostly inspired by children, you know, all that childish stuff, where creativity weights more than formalities. So let’s say that now that we are celebrating ignorance, painting with ashes - from these institutions in decay - is one of our best technics (laughs).

Before starting to elaborate about your produc-tion, would you like to tell to our readers so- mething about your process and set up for making your artworks? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece?

It just happens. It might take weeks before there

comes something to work on or, it can perma-nently be there and keep me busy for days, or weeks. It can be anything; a poem that I can clearly visualize and start working on or, anything. I mean, there is no straight line in this process. As with time, it is almost impossible to define that.

Some works makes you smile instantly while others might keep you dispirited for months. I must confess that I don't like pencils that much. When it comes to techniques, it depends on the textures or effects I wish to combine with the subject I am working on.

4

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Black Tulip

Alberto Zita

an interview with

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Violent Revolution, (oil on canvas)

Alberto Zita Peripheral ARTeries

And there, my tea cup, my dinner plate, my blanket, an old t-shirt, my fingers, my feet, my head or my entire naked body, are very useful. See?

Now let's focus on your artworks: I would like to start with the interesting “Dusted” and “For all the colors we have lost in our battles”, an extremely stimulating works that our readers have started to get to know in the introductory pages of this article, and I would suggest them to visit directly your website at

www.albertozitha.weebly.com in order to get a wider idea of your artistic production... in the meanwhile, could you take us through your creative process when starting these projects?

Thank you. Well, I am not going to take the risk to ruin all the fun of it so I am glad if, in the end of this line, yet, it is all misunderstood. As I said earlier, my mind is set on a range of social issues and these titles simply reflect that. Both are mere definitions of our living conditions, a por- trait featuring all of us in the human zoo.

Dusted

Alberto Zita

Jennifer Sims

We live chasing dreams and believing in pro-mises. So we do, waste the best of our lives in “waiting rooms” because that’s where we are told all these dreams and promises will come true. But these are the times we live in, full of dust in the air and quite heavy to breath. It is suffocating. Some fresh air is needed in both our political and socio- economic environments.

Terrible things keep on happening everyday and you don't need to look far to witness the drama. As we speak in this minute, if not laying already dead on the streets, bodies of innocent children are groaning under ruins like plucked chickens about to die. And all this happens behind political games and often religious excuses. Should we question the human rights or the international community? What can possibly justify so much misery and pain in human beings? Greed? Power? Ignorance? Human beings? Or the kind of leaders we have chosen to lead our lives? Could it be human stupidity or just a piece of land? And of course as always the weak remains the first and the worst victim. You are about to die at any time no matter where you are: in a aircraft or travelling in a bus, in a train or up on the 106th floor in the highest building in the world; it will find you, it will destroy you with pleasure.

But in the dust of our living times, only he, behind the mask, survives.

As you have remarked in your artist's state-ment, "Art should be more explosive than fear, a little bit of freedom and ignorance at same time and the artist, just a simple tool scul-pturing his own message on this walls of our living times": I totally agree with you and I can recognize such a socio political feature in this... By the way, although I'm aware that this might sound a bit naïf, I'm sort of convinced that Art these days could play an effective role not only making aware public opinion, but I would go as far as to say that nowadays Art can steer people's behavior... what's your point about this? Do you think that it's an exaggeration?

Definitely not! Art is intervention. It moves mas- ses. In Art, we come all together, we communi-

FOR ALL THE COLORS WE'VE LOST IN OUR BATTLES

Peripheral ARTeries

Alberto Zita Peripheral ARTeries

Jennifer Sims

cate and share opinion at the same level without any form of “discrimination”. You know what I mean? It is not so complicated to understand. Just colors. So simple as that.

Here, the human value is appreciated and res-pected. Our voices and struggles become one and no one is left behind or marginalized. We all benefit from it equally. Unfortunately this is still a lie. It is a lie because I am sitting here, right now, writing this, with my mind set in a different reality than what the reality is. But fantasy is a great thing. It inspired you to live for something good.

Another great thing about art is that it has the power or the possibility to say the truth without formalities. So you learn, you get to know what it is, you become deeply involved with the matter because it doesn’t lie to you. So my advice would be: when you have it, use it well because to say the truth is a luxury many don’t have. There are a lot of poor people out there, really poor. Take a look. So when it comes to art I don't excuse myself from using it up to the level I believe it is meant to be art. That’s how rich I am.

By the way, what could be in your opinion the role that an artist could play in our society?

A dove. A messenger.

And we cannot do without mentioning Owl and especially Details of a suburb, which I have to admit is one of my favorite pieces of yours: a feature that has particular impacted on me is the nuance of intense red... the first time that I happened to admire this interesting painting it suggested me the idea of an explosion and of burning fire... By the way, any comments on your choice of "palette" and how it has changed over time?

Difficult question.

Another interesting work of yours on which I would like to spend some words is entit-led“Street Kids” which I have to admit have really impressed me: elements of the environ- ment are very recurrent in your artistic produc-tion, and besides a merely physical dimensions,

After all, how much still to carry on our heads?

Alberto ZitaPeripheral ARTeries

Mother and son (iron on wood)

space has a more symbolic meaning, it can be a metaphor for emotions and associations... it challenges our perception and in a certain sense forces us to fill the "drop-out" what we see...... So I would like to ask you if in your opinion personal experience is an absolutely

indispensable part of a creative process, both for conceiving an artwork and in order to enjoyit... Do you think that a creative process could be disconnected from direct experience?

Exactly. I think one must be fully aware and involved. That’s the only way to keep things real. You should know what you are doing or talking about because art requires some level of honesty. But of course, there is always some space for fantasy in it, which I have nothing against.

It goes without saying that positive feedbacks are capable of providing an artist of a special support... I was just wondering if the expec-tation of a positive feedback- could even in-fluence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces? I sometimes wonder if it could ever

exist a genuine relationship between business and Art...

You must be the master of your own otherwise you are lost in your own reasons. Feedback is a good thing and I think every artist loves to get some. But it is not the feedback that maintains or defines your line. It cannot destroy your line either. You can't frame your emotions in the public opinion. You die and reborn alone in this. And as you reborn you express yourself telling us your story in colors no one else can paint. Let’s say there is an island, a sort of confident beliefs in every artist capable to exist alone and inde-

Peripheral ARTeriesAlberto Zita

Street Kids (collage)

pendent from the sea or, what is being said out there. Any artist without an island is like a fish out of the sea. You know what I mean? If you choose your public or allow the public to define your doings you limit your mind and lose your art.

Moreover, I don’t search for my audience during the process when my creativity is at work because that’s exactly when the originality is lost. I live confident that there is always a certain amount of“insanes” to cele-brate all the “insanities” in every insane”. Well, business? There is no-thing greater than feeding yourself and your cats from what you love to do the most. I love art babe (laughs)

Thanks for your time and for sha-ring with us your thoughts, Alberto. My last question deals with your future plans: what's next for you? Anything coming up for you professionally that you would like readers to be aware of?

I have no idea.