 |  |  |  |  |  |  |
|---|---|---|---|---|---|---|
 |  |  |  |  |
PORTRAIT
Pierre Fudaryli was born in 1984 in Mexico. From an early age, he developed a strong interest in the visual arts. He then studied as an autodidact. At the age of eleven, he took painting lessons, but decided to stop, having the feeling of being artistically restricted and not being able to express himself freely. At the age of twelve, he discovered the painter who would henceforth become his major influence, Salvador Dalí. Two works by the artist will mark the imagination of Fudaryli (Corpus Hypercubus and Carne de gallina inaugural), before delving into the surrealist movement through Remedios Varo, Max Ernst or Chirico. These artistic personalities developed a distortion of reality, imagination and had a strong penchant for representing the absurd. These notions have become the artistic leitmotif of the Mexican photographer. After a stint in architecture school, he became familiar with the use of digital tools, used for architectural projects. These tools offer him the means to approach artistic creation with a fresh eye.
Fudaryli's work mainly focuses on human nature, its passion, strength, excesses, spirits and death. The daily geometry of our death, from birth until we stop dying, composes what he calls an "altered reality of human energy" that graphically depicts behaviors in different states, different vectors, directed in several directions in a fractal way, both introspection and projection. In his pictures, the artist does not just capture a two-dimensional vision, but a hepta-dimensional one, all the spatial axes are analyzed (north, south, east, west, top, bottom as well as the point where you are) and thus freezes a moment of our human super-reality. Pierre Fudaryli is constantly experimenting with different techniques, making inroads into sculpture and video, among others.
EXCLUSIVE INTERVIEW
- A neurosis?
Having an explosive temper since I was born! Hence my pseudonym “Fudarylí”. Three days after I was born, my mother nicknamed me “fury” because I was still angry. Then I mixed fury and Dali who is one of my favorite painters and who has always influenced my work.
- You have a particular predilection for the female subject, but the women in your works often appear with hidden or distorted faces. Why ?
In Mexico, where I come from, its very common for a nude to be misinterpreted. I do this in order to preserve the social integrity of my models, as they often fall prey to moral and absurd criticism of society. It is very rare to see, in my work, models dedicated to modeling: I have never paid for someone to undress, so I always wonder if I can use their face to publish them, if they are agree or not. But in most cases, the face doesn;t interest me at all, because Im not there to portray a person, the model, in particular. My approach is to make this person a concept, an entity, so it is preferable for that not to have a specific face.
- What is irrationality, surrealism, and how do you use it?
The concepts I use in my work are human passions, metaphors or myths.... The world of dreams. How to represent something intangible in a tangible way? Like a need to resort to the absurd, the irrational and the impossible. The surreal or metaphysical side of my work then arises, the stories become conceptual objects and common symbols to transmit a possible and unlimited reading.
- What is the limit for you between eroticism and the nude?
I think this limit comes from the viewer himself. Some nude images are not at all erotic to me while for some people they are. For me, lingerie is much more erotic than the absence of it, because you provoke the viewer by making him imagine what is underneath, so there is a desired and wanted sexual connotation. I prefer the absence of clothes, the body is sublimated, purer and more natural. A gesture of the hand, the self-censorship of the pose, the shadows are what can load an erotic image without being explicit or vulgar. The boundary in my work marks the very direction I want the image to take, either a sweep where everything becomes completely passionate or a simple exploration of form, texture, color and light or a conceptual composition and surrealist.
- Find the suite of Pierre Fudaryli dansNormal Magazine n°5 -
