A sea of \u200b\u200bpedra. On or sculptural process of dialogue 
Manu and Jaime met in missing video club Viguer
Art and testing, when the first wrote a short in the second one which used to organize the sessions in that wonderful space. Then decided to work together, and after visiting the studio of the sculptor Manolo Paz
sometimes, the artist asked Manu to make a video for a gallery in Madrid, the starting point for a more ambitious project. In mid-2007 Peace received an order from the gallery
SCQ. Would be his first solo show after a decade, and the occasion was perfect. Manu Jacob and began documenting the entire creative process of the sculptor, who goes to the quarry until it sets out its work. The result was interesting documentary
A Sea Stone, who after his debut at Play-Doc
Tui will be projected on 6 and 8 October in
Fesival Ourense International Film , and the next month will travel to Paris and Mexico.
"There is throughout the film only a plan that is not done. It has something to do with who is talking about sculpture? -Initially we thought that we were not talking about sculpture and art. We did not want to intervene much in the picture, or search tricks and photographic virtuosity. We use the camera as if it were a window into the spectator from the atelier in Manolo Castrelo. That's how we feel and that's how we try to show the world peace. Rather, it was decided that a bet aesthetic from the start, since we feel comfortable with a fixed camera, and Manolo, too. We had to take into account that could not distract the artist, any movement could desconcentralo and have some negative effects in their production. Manolo Paz also "focused" so their pieces, blowing it in half, and we portray the Manolo and his work insertándose this theatrical spatiality that cause these plans open and fixed. Obviously the time
movie called aesthetic proposal. The flow of time, the passage of days, the calm that evokes the atmosphere of Manolo can only be reflected with fixed plans, long and careful.
-Faládeme of staging, in which the characters appear in a seemingly natural, yet it is a stylized naturalness. -If we consider the line of argument of the film, we find two ways. On one side is the sculptor's creative process, on the other the evolution of life. Within these two lines can differentiate an observational cinema is a more witnesses. In this case, the witnesses that appear naturally stylized as to define, but is itself a natural character, as everyone knows the very life of Manolo; felt comfortable together and secure in themselves to speak of Manolo. For example, the sequence of the bar, which leads to the singer's voice Falu fellow gang of kids from Manolo. For he was proud that we could join the project and amosarnos which would be a rest day in Cambados, where every weekend meet at Bar Singh along with other local artists, like Chaz or keys. In short, we seek was favorable situations for which respondents feel comfortable and arroupados, and we have no to intervene only for the dialogue between them fluise.
-Why Manolo Paz will always dress like this? -Manolo always goes well because they are the gifts you have to work in the studio. Arrives and moves with the clothes they have there. It is true that always comes with a red jersey, but it is also true that it has more of that color.
"Just heard the testimony of others. Why not listen to these artist? -Manolo speaks to the stone. Maintains a constant dialogue with the matter and the environment. Hoist your words in stone. We know how to make a sculpture by Manolo through dialogue and matter, and we know the Manolo through dialogues that keep too much about it. It was a matter of honesty. The Manolo he could say with words not say with his work?
-There is talk of peace as Manolo intuitive artist: his work does not seem to surge intelectualización of artistic problems. What do you think? What is your position as creators? Manolo is an artist-by intuition and observation. The constant contact with nature and its remoteness from the elite intellectuals make him a free person without bandages and sociocultural. This freedom makes it to be genuine and makes its localism in a language universal. As breeders, this stance seems to us legitimate, respectable and admirable how a child who spent the day with the cattle gets to be a universal artist.
-The role of nature and rural culture is very important in the work of Manolo Paz The primitive, the local and the contemporary more global in a single artist. What does it matter to you pertaining to each of those? -As
Lamaze Antonio in the movie, Manolo knows how to work hard because from the inside of our guts. A simple (but sometimes abstract) goes directly to the recipient because he knows what he is talking about and feel connected What is receiving without having to make a great intellectual effort. Peace is honest with himself and the public, and its path is probably the opposite that makes any contemporary artist. He spent the
urbanite (in his stays in New York or Japan in the '80s) the megalithic, to find himself and his roots, and thus assimilate everything he had into the subconscious since he was a child, since your entire environment was full of stones. Since the petroglyphs
Field Lameiro , the Tower of St.
Sadurniño , the sculptures of
Asorey , tradition quarry drinks,
Square Fefiñáns ... a universe where every stone nourishing.
-Someone says in the film that was sometimes easier to sell to Manolo Paz in the U.S. than in Galicia itself. Why do you think this happens? Something similar is happening now? -That Speak Assumpta, director of the gallery
Thirty Santiago. She is a great connoisseur of the work of Manolo because it was his gallerist for many years. He traveled with the international contemporary art fairs such as Chicago or Miami, where the work of Peace had a huge acceptance. Sometimes you do not value what we have at home. But that always happens, not only in art or culture, in sports, in science or other disciplines. Fortunately this trend is changing thanks to the work of people like Manolo, Antonio Lamaze, Leiro, Penela and other artists who decided to work from Galicia to the world, and that opened the way for new generations do not have to change residence. But the road is not easy, yet we have to improve much in terms of assistance and dissemination, as well as raise awareness that culture is a basic pillar in the development of people and civilizations.
"For you, as information officers, which means the reality? -Reality is what surrounds us: the people, environment, the context, we can talk and listen. But well, if we serve our vision of reality as information officers or directors, there is always a factor from the point of view, that is, subjectivity. The ideal is to change the least possible for him to say anything around us, the reality. But this is impossible. To a greater or lesser extent all of the fair narrator tells you as it was. Objectivity is impossible, and therefore reflect the reality on tape too. But therein lies the challenge of the profession, allowing our work is credible, translate reality into a screen and as close as possible of what we are experiencing with our senses.
-What other projects are working? as director, after the learning process meant that this documentary, we feel able to undertake separate adventures. Meanwhile we also work as editors and camera operators (in the case of Manu) and bring forth a new business venture with the name of Mother Films (by Jacob).
A sea of \u200b\u200bStone - Documentary about Manolo Paz - Teaser01 by unmardepedra on Vimeo .
