What drives artists forward? Is it the influence of the past? Or is it fragments from the here and now, experiences past and present that come together to form a coherent whole? Indeed, every artist is a melange of different influences often indistinguishable from one another on a micro level but evidencing themselves in larger trends that mark their work. Such a combination is characteristic of surrealist artist Santiago Ribeiro’s work.
Yet there is also a conscious rejection of constraints that tradition might place and an embrace of freedom, individuality, and independent thought. It is this very distinct conscience and approach to art that Santiago Ribeiro uses as a kind of trademark to delineate his vision from what has come before. Challenging conventions while reimagining them at the same, Ribeiro’s work is a confluence of individual passions and inspirations that identify his art like a fingerprint. The process of creation itself is a delicate interplay between planning, intention, space, and pragmatic adulteration throughout. In other words, a piece may begin life as one concept but then slowly morph into something else entirely, a new vision that emerged from an organic process of growth initiated by the very act of creating the art itself.
When discussing his work within the context of the surrealist tradition, Ribeiro is quick to emphasize the fluid nature of surrealism as a form. Likening its process to that of free-flowing thought, Ribeiro notes that this is something that cannot be discovered or invented but rather implemented through effort. In this aspect, surrealism’s relevance to the modern art world is in its central thesis of freedom from convention and constraint, an explicit rejection of tradition in favor of a distinctive yet simultaneously universal experience of consciousness.
One unique experience that Ribeiro shares with us that might help future artists grappling with something similar is the theft of his work. Having recently discovered that some of his pieces were missing from a friend’s lobby, a subsequent investigation revealed that the pieces disappeared without so much as a trace, leaving Ribeiro pondering what was lost in terms of time and effort but also what part of his spirit went with those missing works. Nonetheless, Ribeiro has persevered in the face of these challenges and continues to interrogate the modern world through his work. Discussing how he pivots and shifts to new interpretations of that artistic spirit, Ribeiro underscores a pragmatic, flexible approach that bends with the times but is not of the times. There is a desire to remain relevant while also standing apart in a unique space crafted entirely through his own vision. While that might be a challenge for many artists, Ribeiro is comfortable in this zone and adept at harnessing its unique energies to bring new art.
Explaining how his art went to the international stage, Ribeiro highlights the path and journey he has undergone as an artist and how each turn and stage of development imbued him with new and novel inspirations to this day.
Can you share with us how your journey as a surrealist painter began? What drew you to surrealism specifically?
It all started from the beginning without me even realizing it. Later, after reading my books and having contact with colleagues, I came to the conclusion that 21st-century surrealism was my source. The freedom to express myself and my creativity without dogmas attracted me.
Your work has been exhibited in numerous countries around the world. How has this international exposure influenced your art?
It made me even more insistent on my own unique style.
Can you describe your creative process? How do you develop your ideas from concept to completed work?
I start by spacing paint on the canvas where sometimes I have an idea but as the process continues the same idea disappears and gives way to another composition completely different from what I had thought.
How do you see the role of surrealism in today’s contemporary art world? Do you feel it is still as relevant as when it first emerged?
When it emerged, it was a different time from today with other ideals, but surrealism already existed according to the norms of dreams and freedom, which is what continues surrealism in the 21st century. It’s not about being more or less revealing but rather the feeling of creating with imagination, dreams, and, as always, ideological freedom.
You recently made headlines for all the wrong reasons, as some of your paintings were stolen in California. The paintings were valued at $35,000. Can you tell us more about how you first discovered they were missing?
The paintings were in a colleague’s study and when I asked her about them she couldn’t find them anywhere so we concluded that a robbery had occurred.
How has this incident impacted you both personally and professionally? What are the particular works that were stolen, and what significance do they hold in your body of work?
This is a difficult issue to describe. They were paintings that took a lot of work and were in the United States for possible exhibitions, which happened and then it was discovered that they had disappeared. It was a very embarrassing situation. Hope they don´t destroy them…
Can you share any details about the ongoing investigation? Have there been any leads or developments?
Everything was archived as there is no trace of crime.
What has the response been from the international art community and your fans regarding the theft?
Some resigned, but sadness prevailed because anyone could put themselves in my shoes after losing so much work.
What upcoming projects or exhibitions are you most excited about?
Excited about the exhibition project “International Surrealism Now” with the possibility of being shown in Cernache in Coimbra, Portugal. Also my participation in international exhibitions in Spokane, WA with my colleague Roch Fautch and in Spain with my colleague Yamal Din.
How do you feel your work has evolved over the years? Are there any major shifts in style or theme you’ve noticed in your own portfolio?
The evolution of my work is subjective. She is treated for things that are sometimes disregarded or even the opposite.
Looking back at your career, is there a particular piece of work or exhibition that you consider a turning point in your journey as an artist?
Yes, without a doubt, as everything progressed with my project for the “International Surrealism Now” exhibition in 2010, organized by the Bissaya Barreto Foundation. After that, my work went to dozens of countries and cities.
To know more about Santiago Ribeiro Jose Manuel, please visit https://santiagoribeiro.exposure.co
This interview article is a cover story. Totalprestige Magazine PORTUGAL Edition
