{"id":1028,"date":"2021-03-01T12:08:47","date_gmt":"2021-03-01T11:08:47","guid":{"rendered":"https:\/\/www.monapart.com\/magazine\/?p=1028"},"modified":"2025-06-20T16:17:03","modified_gmt":"2025-06-20T14:17:03","slug":"art-in-suspension-interview-with-diego-pujal","status":"publish","type":"post","link":"https:\/\/www.monapart.com\/magazine\/en\/hogar\/el-arte-en-suspension-entrevista-a-diego-pujal","title":{"rendered":"Art in Suspension: An Interview with Diego Pujal"},"content":{"rendered":"

Art in Suspension: An Interview with Diego Pujal<\/h1>\n\n\n\n

In his workshop he may sound punk, but his paintings capture his vibrations in forms that float, inert, traced with surgical and natural precision.<\/h2>\n\n\n
1 March 2021 by Monapart<\/a><\/div>\n\n\n\n
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The work of Diego Pujal<\/a> it is not fully understood without possessing a mind open to contrasts, and not necessarily pictorial ones. From his home in Montnegre, embraced by its forests, the Argentine artist catalyses everything that inspires him onto his large canvases. Punk might be playing in his studio, but his paintings translate those soundwaves into floating, inert shapes, traced with surgical precision and of an ethereal nature. Find out more about Diego (@diego_pujal<\/a> on Instagram) and his work in this interview.<\/h3>\n\n\n\n
Tell us about yourself and your work. Where did your vocation start? Any first memories?<\/h5>\n\n\n\n

I have been living in Catalonia for about twenty years, but I was born in Buenos Aires. In my adolescence, I began spending a lot of time at the Congressional Library, which was near my house. I was particularly interested in a room that had a lot of contemporary art material, and spending afternoons studying those books led me to visit exhibitions. But my earliest memory related to painting is of some partwork magazines ranging from Impressionism to Cubism that my brother Gonzalo had. Two images come to mind: a portrait of Armand Roulin by Van Gogh and a study by Picasso for one of the women in Les Demoiselles d\u2019Avignon. So I could say that it was enjoying looking at painting that led me to try doing it.<\/p>\n\n\n\n

What do you find most satisfying about your work, and any that you are particularly proud of?<\/h5>\n\n\n\n

Moments that happen during the process of each work. It is difficult to explain\u2026 feelings that arise as the painting progresses, some might be found in the final result, others not. Regarding the second question, I always try for it to be the latest work.<\/p>\n\n\n\n

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What is your creative process like, what are your sources of inspiration, any particular music while working?<\/h5>\n\n\n\n

Normally I arrive at the workshop quite early, I make the most of the first few hours to check files on the computer and get the 3D printer going. Recently I started experimenting with this tool. I tend to walk around a bit before I start painting, reviewing what was done the previous day, choosing which fabric or drawing to continue with. I have phases of playing a lot of music in the workshop, and others where I prefer silence, lately I've been listening to the Irish band Fontaines D.C. and recently I discovered Black Midi, I really liked them. But I can change my musical style quite a bit and move on to Carlos Gardel, Caetano Veloso or Chavela Vargas, for example.<\/p>\n\n\n\n

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Favourite colour, book, film and record - in that order! ;D<\/h5>\n\n\n\n

All colours.<\/p>\n\n\n\n

A book... Other Inquisitions<\/em> by Jorge Luis Borges.<\/p>\n\n\n\n

And the film that most deeply moved me that I can remember right now is The Phantom of Liberty<\/em> by Bu\u00f1uel, especially the final part with the ostrich, it's amazing how the whole film converges on that scene. There's also a film by my friend Alberto Gracia, The Fifth Gospel of Kaspar Hauser<\/em>, an absolute cracking film.<\/p>\n\n\n\n

I'm going to choose a record today Schlagenheim<\/em>, by Black Midi, but I'll add the Bass Desires<\/em> by Marc Johnson.<\/p>\n\n\n\n

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