8 Questions with Manuel Delgado

A Brussels-based Spanish artist, Manuel Delgado is a visual poet. He aims to develop expansive and innovative modes of writing about, with and as art, taking advantage of his theoretical basis in Law, Political Science and Philosophy.

In collaboration with Lara Crespo, a Spanish photographer and audiovisual artist. Her oeuvre relates to nature and the environmental impact of plastic products in our lives. Pastel colors conform Lara’s aesthetic code.

www.manuel-delgado-art.com | @manuel.delgado.art

"Within the visual arts discipline, I am focused on Art Writing. I yield the floor to the unspoken words, framing a visual context where they may feel alive. Instead of burying syllables within dualistic black-and-white realities, I write as if I draw on water. To that end, I seek to conform panoramic narratives through poetry in the light of various disciplines. My artistic approach defines the suburbs so that the city acknowledges its true complexity."

FLOR DE PLACEBO

Flor de Placebo is a photo-poetic project developed in April 2020, during the quarantine period. Throughout a minimalist selection of floral photographs and poems in Spanish (haikus), Flor de Placebo represents different ways of facing confinement when exiled from nature. In addition, Flor de Placebo reflects on the importance of art during the most difficult moments of any human being and the crucial yet subtle relationship of people with their natural surroundings. The disposition of haikus and flowers aims to represent natural formations, aligning human feelings with aspirational natural elements.

What kind of education or training helped you develop your skillset?

I studied law and political science, and I am currently enrolled in a bachelors' degree in philosophy. This is not the orthodox background for any aspiring artist, so one could say I am an outsider practitioner in the creative realm. This combination of humanistic disciplines has helped me identifying civic issues every European country is facing right now. From political segregation to digital censorship or social-media addiction, I could name various challenges of western democracies, from which I got inspired to develop collaborative art projects. 

Please describe the intention behind your art. How do you successfully express this intention?

I am focused on the ideas behind each project rather than on its final execution, which could be better or worse in terms of aesthetics. My projects aim to pave the way for discussions between spectators, and so the ideas matter. The rest (technique, materials, colors) serves as a visual introductory framework. Nevertheless, I try to define a style that attracts young people, apart from fostering reflections around the artworks. Engaging in collaborative projects also contributes to expressing my intention behind creations, which is that ideas are better expressed through the integration of disciplines. Promoting self-reflection against consumerism is better expressed through poetry and illustration, and music, rather than from a stand-alone discipline. That is my grounding principle when doing (collaborative) art.

How do you articulate your artistic language from Law, Political Science, and Philosophy to photography?

For this concrete project, Flor de Placebo, a collaborative project developed in April 2020, during the quarantine period, photography was one of the mediums selected, but it was complemented by poetry. Lara Crespo took the photos, and I wrote the haikus, and later on, we composed the dual photo-poetic pieces. I aimed to reflect from an ethical perspective on how people dealt with the pandemic while offering insights into nature. Flor de Placebo reveals itself as a critical project where political questions (how nature became a utopian space or how humans realized they were far from nature) are intertwined with personal ways of facing the pandemic (persistently or anxiously or solitarily). These modes of character were explicated by the physical forms of the photographed flowers, while the combination of flowers and poems described a visual semi-natural landscape of evocative cognition.   

You are a collective with Lara Crespo, a Spanish photographer, and audiovisual artist. In your opinion, how important is the exchange of ideas and skills for creating impactful artwork?

It is fundamental. Collaborative work is based on the dynamic exchange of perceptions among creators around the topic(s). How the other artist not only works but also feels during the discussion allows the intimate knowing of one-another. In this sense, understanding your team's point of view constitutes a requisite for the adequate integration of various artistic disciplines. The more the artists are on the same track (cognitively or emotionally), the better the flow of work results. It is also essential for me to establish an honest and motivating relationship with other artists, as most of my collaborations are aspirational ones.   

You have been quoted, "My artistic approach defines the suburbs so that the city acknowledges its true complexity." Can you expand more about this philosophy?

Sure! I aim to work on not-so common civic topics so that major challenges are better framed. For example, I have not devoted much of my time to reflect on climate change through art. Does this mean I do not care about my planet? On the contrary, I have reflected on pressing topics such as the space of people with visual disabilities in the art scene (Painthical); the need to de-alienate ourselves from social-media addiction (Soul Food); the importance of sharing art when travelling (Art Away); the lives of African descendants living in the US (All-time Expats); or the modern forms of censorship given increased political polarization. This last project is not yet titled as it is a work-in-process collaboration. All these topics help us better understand our planet (the city) by emphasizing the less known but existing urban challenges (the suburbs). 

Could you talk about your creation process? 

I usually start by drafting a philosophical essay about the question urging me to act. When I have put my thoughts in order, I look for emerging artists whose technique could complement mine. I always aim to integrate poetry with other artistic disciplines, and so my collaborations are also collective efforts of poetic integration. Once the team is set up, discussing the topics, testing the techniques, sharing references, and pivoting (when necessary) becomes my routine. That would be my creative process towards the final execution.  

Where did you get your imagery from? What sources did you use?

I owe much (if not all of it) to the collaborating artists I work with in terms of imagery. I usually have certain ideas before committing to a project, but the final aesthetics are always a joint effort, especially when considering that poetry is not hyper-visual per se, so it is an artistic discipline always looking for colorful compositions. Here, photography, illustration, or even sculpture play their part.

How have you been so successful with creating and marketing your art during the pandemic time?

The pandemic has been a difficult time for all. Navigating through loneliness was tough. Promoting art was harder as there were fewer exhibiting places opened. However, I managed to keep a regular update of my work through social media. Instagram became the museum for young people if it was not already.

What is the hardest part of your creativity? How do you overcome obstacles in new projects?

The most difficult part is engaging with new artists that I usually do not know beforehand. Developing a human connection with someone is always challenging, but even more, if you are trying to develop an artistic collaboration by teleworking, this is, avoiding physical meetings, particularly nowadays.

Any shows, galleries, or publications where our readers can find your work?

I will be exhibiting a new collaborative project titled "Cross-Soul Portraits" in 2021 at the Spanish Embassy in Belgium. However, I must say 2020 has been a blast for me. I exhibited at the Venice International Art Fair during the summer. Apart from virtual exhibitions, I have been featured in independent magazines such as "Murze," "EX / POST" or "Howling Press." I have also been included in various poetic anthologies such as "Sunday Mornings at the River" or "I am Not Crazy."

Moreover, I was honored to be able to contribute to the "Celebrating Black Fatherhood" publication. I am only thankful for these opportunities. Honestly, I could not ask for more.  

What's the coolest art tip you've ever received?

Do whatever it takes to keep doing art, even if you have to live inside the hollowed-out carcass of a bear for two weeks like Abraham Poincheval did or even if you have to sit still for 8 hours to take a photo with the first camera ever built.