José Luis Fernández memories in “The New Spain”

Last May, the sculptor and partner José Luis Fernández, was the subject of a great story of his memoirs, the Oviedo newspaper “The New Spain”, published exclusively and today, thanks to the generosity of our illustrious partner, we can play here.

The Humane Society of the Balesquida, thanks to the contribution of renowned artists, is increasing its art gallery. Exhibition can see if they approach the room to the City of Oviedo has given us, in Constitution Square No. 4, 2nd. plant (building Tourism). Worth it.

This time, the work on the cover of the Yearbook 2016 of the Humane Society of the Balesquida, and both illustrate program and posters announcing the festivities on Tuesday the Bollu, corresponds to the donation of a universal Spaniard, who lives in Madrid since 1960, José Luis Fernandez (Oviedo, 1943).

He began a teenager to work as an apprentice in the workshop of the sculptor Jorge Jordan, with whom he learned techniques and procedures. He made official studies at the School of Arts and Crafts of our capital, which later completed in Madrid. There he worked as a collaborator in the workshops of important artists such as Lapayese Bruna, Avalos, Pérez Comendador or Cruz Solis.

It wrote historian of Spanish Carlos Arean art: “There is in the free-standing sculpture of José Luis Fernández a confluence of all elements in an expression unit high rhythmic, lighting and volumetric value quality is not limited thus. the finish or the organization of spaces encabalgados, but also occurs in the correlation between incursados ​​planes and organic volumes and the almost immaterial form that is light, which not only underlines the essentiality of form, but creates in its environment a kind of halo enchantment. Each element of the work is intimately connected with all other and thus stresses in indissoluble unity, will volumetric expression of the sculptor and stylistic objectification of the same “.

con los goya

As José Luis himself says: “When an artist works the material to shape it is exercising its control over the element, is struggling to refer the matter to the aesthetics and is making reaching the public through a form, an idea, . thinking, a way of seeing reality sometimes this reality is expressed through the abstract form without reste veracity to work, sometimes sculpture shows an air of fantasy with which its creator has meant to public what the real sense that produces a vision or thought. in short, it is a way to express what you feel, what is sensed or what you see. “

While the most important thing in his career is the set of production and the large number of sculptures that adorn several Spanish capital Oviedo among them, “The thinker” in the Carbayón- square, its most recognized work is the head of Goya, year after year, since 1988, divides the Academy of Motion Picture Arts and Sciences of Spain among the most important people in the world of Spanish cinema.

The sculpture José Luis Fernández has presented belongs to the “Bones” series, made of bronze (2008) in a size of 51x51x21 centimeters. The society presented in yesterday at the Press Club NEW SPAIN, along with the 2016 Yearbook, and a beautiful silkscreen “Tonina” finalist on several occasions in the Painting Contest of Luarca, illustrating the cover of the book

 The sculptor Jose Luis Fernandez (Oviedo, 1943) concludes his “Memoirs” for reviewing NEW SPAIN jobs like figurines awards “Goya”, “which is certainly the most media, although my work is much broader.”

From thirteen to three kilos. “The order of the ‘Goya’ was as follows. In the first editions a bust made by the sculptor Miguel Ortiz Berrocal was delivered, but that ‘Goya’ did not fit with what I wanted the Academy because weighed thirteen kilos and then he touched one little button on the cravat and left a film camera skull. in Madrid there were many sculptors at the time, but it must have the word spread that I had in my workshop, Smelting Sphinx, very appropriate systems for the issue . When 32 years ago I commissioned the ‘Goya’ I was asked to be figurative character that resembled Goya and that size was apparent, so you look good on stage, but, at the same time not weighed much for the winning what could lift with one hand. to figure I was inspired by the self-portraits of Goya, in the ‘Caprichos’ and some paintings of his disciples, for example, Vicente Calderon de la Barca. the prototype is now a mold silicone, negative, used as the basis of the technique of ‘casting lost wax’. The silicone mold is filled with wax, it is retouched and gets into a cylinder in which the bronze spin is injected, not by gravity. Thus, the walls are very thin bronze piece and weighs much less, about three kilos “.

Acid, water and fire. “This work is very laborious and meticulous, because for each figurine a wax done. And so no two ‘Goyas’ equal, because the wax is retouched and then finish gives an individual finishing touch. Without wanting to belittle the statuette ‘Oscar’, it is machined with a die, and they are all exactly the same. But in the ‘Goya’ is a chiseled to work the surface of bronze, and then given a patina with acid, water and fire. Depending on the acid, the intensity of heat and water, the result has tonal variations. sulfide potash and stone ammonia is used to get the greenish hue. the heirs of Mariano Benlliure said a while ago that my figure ‘Goya’ was a copy of the stone sculpture of his ancestor. it is not so, but I did my own interpretation from the graphic material of which I have spoken. in that sense, I have the same right as Benlliure to model Goya, but I think mine is more modern and, above all, the bronze technique is very different from yours. “

Totems and pendulums. “The sculptor works with matter to shape;. Is struggling to subdue his own aesthetic that matter, and the way is doing to reach the public a way to contemplate reality Over the years, the artist will also carves its personality, his way of seeing things, and so were born my series ‘Bones’, ‘Organic’, ‘Arboreal’, ‘totems’, ‘seedlings’ ‘Encuentros’ or ‘Redfish’. in the present back to the totems and I worried before pendulums or pyramids. “

Wood, more personal. “The sculpture in bronze work with the traditional technique of the ‘lost wax’, which comes from the Renaissance, or ‘cast to earth’. Perhaps it is the bronze with what the sculptor is expressed more freedom and finished include a set of very crafts.. welders, engravers and final patina, which has a lot of alchemy Instead, stone or marble require great skill and manual strength in them is difficult to correct, but there are now enough useful mechanics that help the sculptor, for example an air compressor for power tools with different abrasives and grinding wheels. But on his polished still better the traditional technique. and wood is a material that is more direct and personal. the marble, concrete or mud allow teamwork, but wood requires the dedication of the artist himself, without help. in addition, wood requires you to master various offices, from cabinet making to achieve good adhesion of the wooden block in which it is to carve the sculpture to a perfect mastery of the tool, the gouge”, public art and sacred art. “In our workshop we do from jewelry to urban monumental sculpture. In 1976 I was commissioned underground murals of Cibeles Square metro, concrete and formwork in situ, and that same year I made nine big murals on concrete for each floor Mandatory Service Traveling in Madrid. in 2011, commissioned by the architect Juan Pablo Rodriguez Frade, did the doors for remodeling the Archaeological Museum of Madrid, three-piece bronze 800 kilos each, modulated with striations that designed the architect Juan Pablo Rodriguez. and the family of Calvo-Sotelo, along with the Fishermen’s Association of Ribadeo, asked me a great relief in bronze of former president. I also did the sculpture Gaudí for Leon, and as internet leave things sometimes very rare, someone told a social network that was not Gaudí, but Leopoldo Alas ‘Clarín’, a sculpture that had been offered to the City of Oviedo and rejection, and then use it as Gaudí. I wrote to that network social aclarándoles that Leon is Gaudí Gaudí, and no one else “.

en su buhardilla

Berlanga, barefoot. And the 25th anniversary of the film ‘The Heifer’, the City of Sos del Rey Catolico, the place of filming, commissioned a sculpture of Berlanga running barefoot, it’s like sometimes did. In addition to Berlanga, film director chairs cast in bronze with the names of the actors in the film were placed, and placed in the places in the village where they had filmed the most important scenes. I have also made sacred art, as the Church has done since always a work of patronage. It was, especially in the seventies and could do so with great freedom. Sacred art is very enriching. “

Bucking trends. “I married in 1973 to Maria Soledad Fernandez, who is of Tineo, and we had three children, Sergio, Christopher and Natalia. Sergio, who studied philosophy and sculptor, is the manager of the workshop, which also works Natalia, who he studied History and Archaeology. and Christopher, who was born just when my father died, is dedicated to the cinema and is in Barcelona. he did Audiovisual Sciences and spent a few months at the famous film School of Cuba. it is film editor and teacher. in these now the art market has suffered a major setback. the official commissions have been cut and the middle class has stopped buying. But I’m having fun doing my own work and bucking trends “

José Luis Fernández was born in Oviedo in 1943 and from boy passion for modeling and sculpture. It forms in the craft of wood carving in the workshop of his uncles, Mon street or in marble in a workshop Naranco. At 17 he decided to move to Madrid, where he mounted a workshop in Vallecas and a smelter is added in Torrejon de Ardoz. Self-taught and influenced by Henry Moore and Constantin Brancusi training, his work is wide and moves between a certain abstraction and figuration. Since the second edition of the awards “Goya” is responsible for melting each year statuettes presented to the winners.

trabajando

master carvers. “I was born in Oviedo on 28 February 1943. My father, Christopher Fernandez Sanchez, was a native of the area Prio, between Asturias and Cantabria. It was military, having made war and joined then in the Army. Was in Larache in Ceuta, Melilla …, and their fate was broadcast and my mother, Covadonga Fernandez Carvajal, it was Oviedo we were ten brothers.. Pedro, Jose Luis, Enrique Cesar, Alfonso, Jesus, Covadonga, Mary Elvira, Marisol and Evaristo. the eldest, Peter, was also military and the same day that inaugurated the exhibition of 1999 at the CAMCO (Modern Art Center “Ciudad de Oviedo”) will run over by a car. he was very ill and died after a year. Another brother, Jesusín, died from child to fall from a swing. We lived in a house next to the Seminary of Oviedo and he was playing in the yard when the rope broke and fell. the other brothers all live. since childhood I a liking to modeling clay in those days do little things and my brother Henry encouraged me. ‘Hey, why not do some nativity scenes and present them to the competitions organized Catholic Action’. And so we were starting. Enrique has always been with me and that has led after the technical part of the workshop and foundry. Also he had two uncles, my mother’s brothers, Carlos and Luis Fernandez, who were master carvers in wood and worked with them since childhood. They had the shop on the street Mon and his was an artistic carving. They were carvers period furniture, for example, Renaissance and neoclassical Louis XVI style. That must be a great professional and they were actually sculptors. Carlos Sierra, the painter, came to me some wood carving on the street Mon “.

House garret in Spain. “I studied in school Loyola and academia Ojanguren, and then made up room Bachelor Alfonso II Institute, where I had Professor Peter Caravia. Then I went to the School of Applied Arts and Crafts in Oviedo, which coincided with Bernardo Sanjurjo Miguel Angel Lombardy, Manuel Linares, Fernando Alba, Mauro? my first prizes in a regional phase and other national, were with the Spanish Youth Organization, OJE. the national was with a sculpture in plaster my brother Jesusín, which had died on the swing. And then I had another prize with a wooden sculpture of a woman with a chicken in his hand. in those days when things were so bad, it is noteworthy how OJE, with few means I had, helped us giving us space or participation in exhibitions, whose trips paid us. and that’s how the OJE left a garret in the House Spain, which was in the street Asturias and was the seat of NEW SPAIN and Radio Oviedo. There I met Carlos Sierra, Miguel Angel Lombardy and the painter Jose Manuel Zapico, which was established in Malaga. Of that would have 16 or 17 years old and my parents told me that I dedicate to a safer thing, like all parents. But my father, who was a very good person, met a sculptor, Jorge Jordan, and I got to work with him one season. It was in the marmolería Don Belarmino Cabal, in Naranco, and there I learned to work the stone. With him he was also working a while Fernando Alba, the sculptor “.

en su escultura a

Joints. “So from kid I started working with all materials. Clay, plaster, wood, stone I even got along very well make molds because sometimes it would work with plasterers he is, sought the office to get ideas. because in sculpture, unlike painting, must have much trade. We must master many disciplines. for example, if you work the wood, you have to be a little cabinetmaker, or a little sharpening tools. the same goes stone, or casting, which has a lot of craft and many steps craft. in the workshop of the attic each oriented in its own way. This art is a bit individualistic and each is locked in place and makes its work. So did a wounded miner a naked girl. various things, because you were doing. Then each one went by. Carlos Sierra and I are of the same fifth and went to the military at the same time . he Africa and Leon, but neither he nor I did military service. They threw us: to him by a finger and me by the leg. We declared useless. The truth is that since childhood I had a knee injury in the left leg and now just have surgery to place a prosthesis on his right knee. I think all this influence that has made sculptures of bones and joints, a kind of organic encounters between pieces. “

Two pieces of Romanesque style. “Oviedo was a very nice town, and although I did not study at the University was always involved in seminars Philosophy listener. I remember some of Gustavo Bueno. But at 17 or 18 years, my idea was to go to Madrid and then Paris but when I got to the capital told me. ‘If I have trouble living in Madrid, what will happen to me in Paris,’ and why I was here to Madrid I arrived with a little money he had made in Oviedo, because Magin Berenguer had commissioned me my first two woodcarvings, Romanesque for the church of Santa Maria de Narzana in Sariego. with that money had to spend three months in Madrid and it tore. at that time tried to enter the School College of Fine Arts of San Fernando, but when he approved the income had already gotten me ready to go to the mili and I could not fix the pope. So my path was self-taught because then it was easy to get to the workshop of a sculptor , say hello and ask if you could help with something or if there was any work. As in those days there were no ‘papers’, as now, I could work with various artists. Today, however you can not give job lightly a sculptor who comes out there because, among other things, have to hire and secure. But then, I say, nobody asked ‘roles’ and you did you a big favor. He went to work in the workshops and then, in the afternoon, I went to the Circulo de Bellas Artes to draw “.

A corner for the work. “I worked with the sculptors Ramon Lapayese, or Juan de Avalos, who was a little more industrial,. Or Enrique Perez Comendador, an academic of San Fernando and had sex with all of the time, for example, with the Murcian Jose Plans , or José Luis Coomonte, Cruz Solis and Antonio Suarez. Each of them works some subjects and some subjects and what I learned was the work, because otherwise it was you who had to create. sometimes going to work with them a few hours and left you a little corner so you could go about doing your work and that’s how I learned. The self-directed learning through other sculptors is very good for a sculptor. Plans was very advanced for its time and it was a very abstract sculpture. Lapayese also made abstraction and Comendador was purely academic and figurative. He worked all materials, and even did things for the Valley of the Fallen with Avalos. Then we went by a different, semi-abstract but also figurative work. I am always in search, but not fashionable, but guided by my feelings. But the sculptor who influenced us at that time was the famous Henry Moore. It was the best at the time and in the Franco era was a very important exhibition with his work in Madrid. I was excited. I also influenced the time the Romanian Constantin Brancusi. “

The Café Gijón. “When I arrived in Madrid I went to see Paco Umbral, because it was recommended Perelétegui, a very nice leonine was his cousin who worked at Radio Oviedo as a journalist I arrived at Café Gijón and greeted Threshold, who said to me. ‘Vente with us we will give a tribute to Larra ‘. When we got to Rosales promenade, where his monument is arrived gray and were stoked to all. at Café Gijón knew a lot of people. it was our second home because almost all did what same: we worked ten or twelve hours and at the end we ended in Gijon there I tried a lot with Gomila, painter of Gijon, and someone who is a great art collector and has helped many people, Lalo Azcona. “.

Vallecas and Torrejon. “I had bad moments, but in general, from the 17 years I have lived sculpture. But also, for many years now, not only I live it, but lives the family of my brother Enrique, and my children , and 17 or 18 employees we have in the shop. at 19 I already had my car and I got a suit at the tailor. and in 1964 I rode my first workshop in Vallecas, where I follow. we were adding local, to four and one day, talking to my brother, decided we had to go to a big ship and ride a foundry. Here in Vallecas also fundíamos, but we could say something the neighbors. and that’s how we opened the workshop Torrejon de Ardoz by 1999. Already in Vallecas there was much work and workshop worked as a team, we worked as in the Renaissance, which was a sculptor and around it revolved different trades: engravers, smelters, welders, carvers, polishers, silversmiths, jewelers, punches points, and so on. in 1965 I had my first exhibition in the room Cristamol Oviedo, Carlos Sierra and Ramon Sancho-Miñano. That exhibition opened Nicanor Pinole us. “

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