Lara Padilla Interview – 25- 11-2021
1- How do you define yourself? How do you define your projects?
The alias Sra.D (Ms. X) stands as a complaint against the loss of identity of women
upon marriage, automatically leaving their surname to acquire their husbands. It;s
something that happens in many countries, establishing itself as something implicit
in marriage. Through my work, Ms. X seeks to represent all those women who seek
emancipation. Nobody;s women.
My work covers disciplines such as paint, sculpture, dance, performance, street art and fashion design.
My mostly figurative pieces draw attention to the power of female representation through the deformation of the body and the use of colors and textures. Gender empowerment is exhibited through large hands as powerful instruments of battle; as well as heavy feet, an image of the perseverance of women in their historic struggle. I understand art, not as a silent showcase, but as a path of action and political intervention.
My aesthetic is an ode to diversity, portraying all types of bodies in order to promote a look of equality and authenticity. In my urban actions I insist on reflecting the implicitness of a conceived identity.
2- How did you start working on street art?
I painted my first big Wall in Miami, for Art Basel, 8 years ago.
I remember that experience with great affection, as when you expose yourself in the street it is as if in a certain way you are undressed. The work is alive and the people and the city are part of it, they complete it. It is very nice to see people’s reactions and how they interact with your art that otherwise would not happen in your studio. It is a wonderful showcase which you can learn a lot from. In addition to painting murals, I carry out Street art actions with ephemeral projects, such as performances or interventions of spaces, objects that disappear in the moment or the day, creating videos and material to share with people in order to give another point of view or my opinion on different issues of our society. Sometimes they are more rebellious or provocative (art can also be political and can help change things) but in any case they are experiences that I will never forget, they make me feel alive.
3- Where do you find the inspiration to create your projects? Are they modifiers of urban space?
Painting, as Basquiat said, is «talking about life» and that is precisely what inspires me.
I am fascinated by the human body and dance. However, the body is not a prison for me. In my latest creations I have expanded my plastic discourse by exploring African and pre-Columbian art, cultural chapters of great social and conceptual significance such as Genesis or the interaction of bodies with new supports and textures.
Urban art always modifies the space, because you are telling a story and with it you reconstruct meanings around that space and its memory. You create a relationship with the environment, adding value to the space, as well as a relationship very special people.
4- What does Street Art represent for you in this constantly changing world?
For me, urban art represents life, with the intervention of public places you share part of yourself and your history with people with whom you would not connect otherwise. It is art for everyone, it is ephemeral and that makes it more alive. It manages to unite people, and it is a catalyst for artistic expression, filling with color perhaps already forgotten places of passage.
5- Do you think Street Art should be legal or should it continue to be a form of art pursued by the police? Have you ever had problems?
It depends on the projects, I think that through urban art we can give color to the grays of the city and also give the artists an opportunity to show their art. So I like urban art festivals because they are an opportunity to share, meet people, and dialogue with each other and reflect on the world in which we live. In contrast, there are other interventions that are not respectful of the city and I don’t think they add value and in those cases the police do seem fine to me. I personally have not had problems because I have painted on legal walls, I have had them with the artistic interventions that I do on the street, such as my videos and performances.
6- How long does it usually take to prepare each project?
My creative process in general is very instinctive, I don’t usually prepare sketches, I like to create a fun and free atmosphere and from the sensations they produce in me I build the different characters. In the case of murals it depends on the composition you choose. I like to create networks of linked bodies, I call it Tetris, and in that case there is no sketch and the work is always the same and always different. It starts with a body and everything else flows on its own without previous diagrams creating an infinite puzzle. If it is a composition of people, I make a schematic to build it and get an idea in space.
TAKE A LOOK TO THE WHOLE WORK THAT HE DOES, IT’S COOL, ESPECIALLY
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