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Interview of Antonella Pedetti “El Pregonero Indonesia”Year XXXV.Vol 3.August 2015


Antonella Pedetti and her art.


Our interviewee is the Uruguayan artist Antonella Pedetti,

she lived most of her life in Argentina, where she went to the

University of Buenos Aires where she studied architecture and

to the National School of Beaux Arts Prilidiano Pueyrredón.


Please, tell us about the beginning of your art career.


AP: I lived in an artist environment since I was a child.  My mother married a film director, and she herself worked as a press agent in Buenos Aires.  Because of their professions, I grew up surrounded by writers, actors, and scenographers.  From very young, I was fascinated by the world generated around the creation of a movie and worked in my family's projects when I was on holidays..


What are your background studies?


AP: I finished school and a ballet career in the National School of Dance and I decided that I wanted to study scenography, for which I had to take three years in the National School of Beaux Arts Prilidiano Pueyrredón. But a short time after having started, I decided to continue with a painting career there.

A day, discussing with a set designer from the Colón Theater, I realized that architects were working on set design and because of their knowledge about structures, they were developing spectacular projects. Then I started to study architecture at the same time, and just like with painting, I fell in love with architecture.  I dedicated myself to painting and architecture until 2002 when I left Argentina with my husband.


We have seen that you have different types of works, but with some common traits, tell us, did you always follow this pattern of art?


AP: That is correct, there are two constants in my works.  The first one is the technical part, trying to question language conventions and transmit a conceptually message, be it in painting, photography, objects or even through architecture.

The second constant is more personal.  I try to reflect how every place I live in affects my life and work. It is a kind of catharsis, trying to see what links me and what separates me from each culture.  For example, the series “Toros Braford" (Braford bulls), are 12 pieces created in acrylic to be used as frames in a movie "Vacas Gordas" (2006) by Giorgio Peretti.  I made it in Germany, and for me, it was an expression of the slaughter houses in Argentina, and it tried to reflect with dark colors the hard times in Argentina in 2001.  In contrast, the serie "Toros Bradford" where you can see a bit of the bright side, capturing the calm and tranquility of my beloved Argentinian pampas.

The serie "Turquesa" is about immense landscapes from a modern point of view inspired in Ecuador, in the Andes Mountain Range, where we lived around 2010.  The idea was to capture the immensity and the contrast between nature and humans.

Back in Germany, the series "Minifiguren" are twelve objects of small figures, in acrylic and wooden boxes, which reflects  the life of a woman, mother and wife in a modern society and the obstacles and fear she must overcome.








                                                                                         Do you have someone like a mirror, who inspired you or                                                                                            made a difference in your way of creating?


                                                               AP: I try to find my own path. Certainly, my art teachers,                                                                                          like Ester Nazarian and my talented class mates in Beaux                                                                                               Arts in Buenos Aires, showed me the first steps, but                                                                                                     maternity and the traveling life have given me the needed                                                                                           push and force.


What is your sensation about the work once it is done?


AP: I am very slow to produce, I go around and I'm a little obsessive which is why it is a comforting feeling when I finish a work.

The last three days of a work, when I see how it is coming along it is joyful.  In contrast, the crisis when facing the empty canvas is measureless.


How do you choose the materials to used?


AP: Sometimes the idea comes before the materials, and they adapt to what I want to say.  However, it is also possible that while experimenting with the materials a new idea emerges.  With the series "Minifiguren" the materials were the vehicle which helped me to tell the story.  Regarding what materials, acrylic is always present in my work, although the technique is mixed.


What is in your mind while you are creating?


AP: When I am creating, I have many ideas in an absolutely chaotic state. Many times, I don't know how I will solve it and that produces what I called creative anxiousness in me.

Tell us about your career until now.


AP:At this moment, I am researching some aspects

of Indonesian culture.  

The rice padsdies and life philosophy that has always

been behind the production of rice in this country.  

The different architectonic typologies and ease of

improvisation when facing adversity.

Adapting to new cultures is a constant and I try to

keep faithful to what I feel and I try to see difficulties

as encouragement.

My new work is called "Serie batik" for which I studied

the batik technique with Pak Hamim during four

months.  I already have works of "Collage en batik" and

acrylic and now I am developing other with a technique

mixed with photography, to make an exhibition at the

end of the year.









Paula Florino

Sandra Ferreira Mendonca.


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