tour to an artist connected with reality

In a nook in the commune of San Esteban, Valparaíso Region, the artist José García Chibbaro, a lover of nature, receives me.

Between adobe, sounds of chickens and barking dogs – which will try to sneak into each of his words at intervals – he immerses us in a journey through time and space, discovering each of his works and milestones, in a conversation that It goes between mysticism, with touches of reality and current events.

– There are three elements that are crucial to understanding the origin of your inspirations: the car, the male profile and the horse. How does your artistic present mix with these figures?

– The horse is the first vehicle, in some way the first plane, since when galloping the horse stays in the air for a few seconds, therefore, when jumping on horseback, in competitions one is more in the air than on the floor.

The car, for example, is an extension of ourselves: the lights would be its eyes, the nervous system would be the electrical wiring, the wheels would be the feet, the horn would be the voice, etc.

The same thing happens with the internet, which is nothing more than an extension of our planetary mind.

The human profile, filled with these two elements, becomes the protagonist of my artistic imagery.

– How was that path of becoming interested in the world of art, from your childhood to your adolescence and in what way do you feel that you connected with other artists?

– I never thought, when I was in school, that I was going to be an artist. The only thing he did was draw in all subjects and the teachers persecuted me for that.

When I left high school, I studied advertising for 3 years, a profession that I never really liked, and at the age of 22 I dedicated myself completely to painting.

From there I started connecting with other artists. He lived in Santiago and painted in a workshop in Bellavista, a neighborhood that was not what it is now. There was very little… There were no stores, nor did there exist commercial places, it was a place of artisans and artists.

It was the time of the hippie movement, there was a very special vibe there and as residents of the Forest Park, we participated in the exhibitions that were held in the park, in spring.

I feel that I lived through a generation in which, for the first time in history, youth took control of fashion, communications and the dreams of humanity.

– Let’s talk about music. What does your musical group Narayana mean to you? Tell us about the beginning and how you feel that Latin America refreshes in a certain way a Europe that was a bit “down in the dumps” in the 70’s.

– In my family there were many musicians and when we were little we went to family parties, so at that time when the children had to go to bed, they told us “he who sings on the table is going to sleep”, so as we had We wanted to sing so much, we did it and then we had to go to bed.

Then I learned to play guitar because my sister took lessons, she didn’t play anymore and I ended up playing. I was about eight or nine years old when I left.

And that’s how I later began interacting with friends who were musicians, without even having the idea of ​​forming a group. This arose only out of necessity when we went on a trip, we were around 23 years old at the time and we were going for 3 months to visit Machu Pichu, Cusco and other places in Peru.

There the Narayana group was born, which allowed us to continue touring America and the world and what at the beginning was a 3-month trip, became an 11-year journey.

Our first experience was singing in the plaza of Arequipa, where we had enormous success, which allowed us to climb Machu Pichu and participate in some television programs in Arequipa and Cusco.

This was an extraordinary experience, we advanced through South America, the Caribbean and North America, making a compilation of Latin American folklore.

When we arrived in Europe, our folklore was in the latest fashion, these were times of the boom of Latin American writers and magical realism brought a new cultural lifeblood to Europe, with García Márquez, Vargas Llosa and all the writers and artists, who were received with great interest in that public.

– Tell us about your closeness to literature and how your family is involved in it.

– In my family we read a lot, I remember my father who had lunch with the dictionary and we looked up any word that came up, it was a great contribution. Later as a surrealist painter I felt, inevitably, related to literature, since surrealist visual art is born from it.

Pictopoesis is already something literary and historical, mystical, subconscious, magical and fantastic allusions can be made, as is the case of movements derived from surrealism, such as magical realism and fantastic realism.

Then I wrote a historical novel, which had to do with a family matter that I was unaware of, this is more of a historical novel of manners, which has to do with the revolution of 1891 and the sinking of the Prince of Asturias, which was a Spanish ship. which, like the Titanic, had a tragic outcome. She sank off the coast of Brazil and some of my relatives died there.

I also write short stories, I have never published these, they are surrealist style stories that differ greatly from the novel I wrote “El Siglo de Doña Tránsito”.

– What are the biggest milestones that have marked your career, so far?

– The first when my dad taught me at 4 or 5 years old to draw, that was fundamental, then when I put my hand into yellow paint and wanted to paint the furniture in the house.

Later when he was older when the music group was formed, for example. The first time I entered a workshop and without knowing how to paint in oils, a friend taught me and I felt that a wonderful world was opening up.

Other important milestones were being part of the “Ernst Fuchs” academy, in Reichenau, Austria, where I learned the Flamenco technique, also entering the International School of Graphics Venice Italy and the Greda School of Sculpture “El Poggio” in San Vicenzo to Torri, Tuscany, Italy.

I started out as a self-taught person, but I was lucky enough to be able to study in these three places.

Also participate in the Seville Expo, where I illustrated the book of Columbus’ letters by editor Ismael Espinoza. That was a pleasant surprise.

Another milestone was after having participated in the World Fair of Fantastic Art in Venice, where all the surrealists in the world were present. There a new surrealist manifesto was made.

Likewise, having exhibited in Venice at the time when “Save Venice” was made, where all the scientists in the world were saving the first city in the West.

– What colors represent your artistic stage, going from your beginnings to the present?

– I had a blue time when I left, that color fascinated me, I also love yellow.

Lately I have moved more into greenish, bronze-like colors.

Now I have plans to make a change in my way of painting, work more with color and make less elaborate and more casual paintings, since the flamenco technique, with which I started, demands too much technical work and I would like to make more spontaneous works. .

– Are there new forms of expression related to art? Tell us about what you think about the new generations.

– In my time traveling was difficult, because leaving Chile was very expensive. It was in the most remote place in the world, now due to communications and the facilities that exist, artists travel much more.

Things have changed in recent times, figurative art has returned to being made, which in my youth was almost a sin, because there was the dictatorship of abstract art. The teachers hit you on the hand if you drew well, you had to draw badly, it was something unusual.

Now there is great eclecticism, many people are dedicated to art and all manifestations are respected, just as artists are becoming interested again in ancient techniques and the craftsmanship of art.

Personally, I love living and sharing with young artists, because it is a way to nourish each other. That’s what it’s about, art is communication and that is fundamental.

– How do you feel the support and connection that new artists have?

– There is very little support here, the truth is, it is not a current evil, this has been going on for a long time in Chile, culture has been made for political purposes, there has been some support, but the rest of the artists are subject to VAT and some Galleries charge 40%. Personally, I don’t know of any other activity where they charge you that amount of commissions for your work.

Many artists are struck by the fact that these cultural issues have not been addressed in the latest constitutional projects.

In the first convention the only thing that was talked about was ending copyright and in the second the subject was simply not talked about.

I think that politicians have little interest in culture and that we artists find it essential to save the country.

– What advice would you give to younger artists?

– Work, there is no other way. Culture today is constant dedication, because it is a dynamic thing, it is communication, but not only at the media level, but when you work, you have to be aware that there are many people involved.

It’s like when you meditate or pray. You have to join this creative energy of society or humanity and in that way, it is like through these media – which are not only social networks – one gains strength and delivers profound things that emanate.

– Any thoughts regarding artificial intelligence?

– I think that most people have great uncertainty regarding the issue, it is difficult to measure the changes that it can produce in society, in fact, they are trying to legislate on the matter, since there are moral and ethical problems involved.

– What is your routine and contact with nature like?

– For me, contact with nature is essential. I have always tried to live in the countryside, even when I lived in Europe, it has been an important tonic for me.

I’m not really urban, I love the city, but go visit it.

We hope that one day we will return to having a city that allows cultural development, as it once was.