Jorge da Cruz has spent the past decade focusing on so-called “artistic residencies” – constantly changing homes, constantly changing studios. He has lived and worked in Portugal, Brazil, Morocco, India, and Germany. Like a chameleon, he adapts to his surroundings. Even more: he blends these constantly shifting environments into his work. His paintings act as mirrors of the places and contexts in which they’re made.
Against this background, the wide and sometimes contradictory use of color, forms, and symbols in his work begins to make sense. The artist’s images shift just as he – and the places he inhabits – do. “Travelling Art” is the term Jorge da Cruz uses to describe his own practice.
After many years of movement and searching, Jorge – at least for now – seems to have arrived somewhere. Since 2011, the 39-year-old has been living in Berlin. Under the name Kollektiv Raumfähre, he shares a studio space with other artists in the legendary Kunstquartier Bethanien at Mariannenplatz.
Da Cruz values the atmosphere and the sense of community there – even though each artist mainly works on independent projects. Twice a year, Bethanien opens its doors for an open house, during which a large group exhibition is prepared in advance. In Jorge’s opinion, Berlin is a very art- and artist-friendly city – not just because it’s relatively affordable, but more importantly, because it brings together so many other creatives.
Although Jorge da Cruz is an artist through and through, there is something linear and technical in his art. Fascinated by architecture and technical drawings – where every little centimeter is accounted for – he begins every work with a precise, structured sketch.
His art brings together two worlds: the accuracy and discipline of technical drawing and the freedom and unpredictability of artistic expression. To share his work, da Cruz often pursues new and unconventional approaches. One of these is “Art by Mail.”
As an alternative to traditional gallery exhibitions, he occasionally sends out his work by post: art prints in postcard format. He includes a short explanatory text and background on the piece. The recipient can then choose to keep it, forward it, or even purchase the original drawing.
Jorge da Cruz also maintains a strong connection to his hometown, Lisbon. There, too, he’s created a small but unique art project: when he’s not in town himself, he sublets his apartment to culturally curious visitors who can explore the city through the artist’s own suggestions and recommendations.
Interview
VIVARS.COM: Would you please briefly introduce yourself? Where do you come from, what stage are you at currently, and – metaphorically speaking – where do you want to go? Do you have a life philosophy?
JORGE DA CRUZ:
I was born in Lisbon, Portugal, and over the past years, I’ve lived and worked all over – Spain, India, Brazil, Morocco, Kassel :-). Since 2011, I’ve had a studio in Berlin. Right now, I’m in a very exciting phase in my career – a time of settling down in a city, collaborating with other artists… a very creative period indeed!
My life philosophy might be: “Discover what you love doing, what truly makes you happy, and have the courage to do it for the rest of your life.”
V: If you could describe your art in three sentences – or even just three words – what would you say?
JDC:
Physical, raw, instinctive.
V: Regarding your creative process: how do you work? Do you follow any repetitive patterns?
JDC:
Yes. Repetition and daily routines are super important to me. I always start any painting or video installation with a drawing. From there, the process evolves naturally and becomes a series of events that change the final composition.
V: What are your sources of inspiration?
JDC:
I’d rather talk about motivation than inspiration. Inspiration feels too esoteric to me. I always have the urge to paint, but I don’t always feel motivated to do it. That’s where discipline comes in. Even when I don’t feel like it, I keep going. That’s the work. I think it has more to do with commitment than inspiration.
I also love working in close collaboration with other artists – with writers, or with other visual artists like Ivo do Carmo, Frediano Bortolotti, and more recently, Carolin Schmidt. Teamwork in art is great – it can be the perfect motivation.
V: What do you consider your most important work? Which piece has special meaning to you, and why?
JDC:
I think the work I’m most attached to is a group of three paintings called Half of Leaf (3 x 80x100, oil pastel and henna on wood canvas). I created it in three different places and at different times: Lisbon in 2006, Fez in 2007, and Kassel in 2009.
Maybe it means so much to me because each piece reflects a very important phase in my life. The paintings are now exhibited in a restaurant in Berlin. If you come to Berlin, check it out – Elsenstr. 30b!
V: You chose Berlin as your base. Was that a conscious decision? How does the city and its environment influence your work?
JDC:
It happened by chance. It was a conscious decision, but not one I had planned. The environment has a huge influence on me. I lived in Kassel for two years and had a beautiful studio in the “Nordstadt,” with all the right conditions – but I simply couldn’t work there. Kassel was too clean, too orderly, too quiet.
Then I came to Berlin, and suddenly my work evolved rapidly. That showed me: I need more chaos and disorder to create. Big cities are perfect for me. So far, Berlin has been a paradise for making art. Kassel, on the other hand, is a good place to think and reflect – which I sometimes need, too. It will always be in my heart: friends, peace, and space to think.
V: As an artist, art is clearly central to your life. But do you ever need an “art time-out”?
JDC:
I don’t really take breaks from art. I live completely for it. Maybe the only thing that pulls me out of the studio is spending time with friends and family.
V: What do you think of vivars*?
JDC:
I wasn’t really surprised when I heard about vivars! I met the initiator while living in Kassel – it was through the project Dorf-Eigen-ART, where Sylvia Kernke was very active. I could already tell she would go on to realize more cultural and artistic projects.
I really like the idea of vivars. Of course, as with any online project, its success depends on the people who use it.
Kassel, 2014
