When I first met Roberto Garcia a few years ago, what stuck out to me was his incredibly easy-going and fun personality. As I got to know him, I realized he had much insight as well. These qualities make their way into his artwork. Enjoy the interview with my good friend, Roberto Garcia!
Roaring Out: How long have you been creating art and in what types of media?
Roberto Garcia: I’ve been creating art for as long as I can remember. As a kid I’d take my toys apart and combine them. GI Joe’s with Transformer body parts, and stuff like that. Then I tried my hand at comic books and portraits. Recently, I’ve been working with acrylic paints, markers, and newspaper. Let’s see where that goes.
RO: What first inspired you to art?
RG: Hmm. I suppose it’s just something I had to do. Writing, drawing, and music just called to me. It didn’t hurt that my mother had all kinds of books on hand at home. I was just moved to do it all the time.
RO: What types of media are your current favorites and why? Is there a different type of medium that you would like to try in the future?
RG: Writing is my favorite medium, but I love painting with acrylics. Something about what you can imply with the colors. I’m no expert, I just enjoy it.
RO: Could you please talk a little about your creative process?
RG: I like to explore my world and see what it gives me. It could be an article, a scene, a photograph, or a moment. I try to complicate whatever it is that inspires me, and present it in a thought provoking way.
RO: What is the longest time you’ve spent on a piece of art?
RG: I spent a year on a really terrible piece of art! It was pastel chalks, acrylics, an actual poem glued to the canvas, and it was horrible. I finally let it go, but after that I painted four to five pieces that I really like. So, I guess I had to get that ugly out. Haha.
RO: Your chapbook, “Amores Gitano,” was recently published, which is very exciting! Could you speak a bit about putting together the chapbook as well as the publishing process? How would you describe the feeling of holding the chapbook in your hands for the first time?
RG: Most of those poems came from an erotica themed reading a friend of mine put together. I worked them and worked them, and sent them to the editor of Cervena Barva Press, and the rest is history. It’s a fun book because it morphed so much as I revised it. They could be read as poems of desire and longing, or the artist’s struggle with art, and the muse. I was fortunate to deal with a professional press, and they made everything smooth and painless. When I finally held the chapbook in my hand I was like, Wow!! The publish date was right before AWP, and the Cervena Barva press had issues for sale at their table, so it was surreal. I was at AWP Boston and copies of my chapbook were on sale. Wild!
RO: Your chapbook has a Spanish title, which means “Gypsy Loves.” Please speak a bit as to why you chose to have a title in a foreign language for an English market. What does that title mean to you?
RG: Might seem cliché, but everything sounds better in Spanish, and French. The title is a nod to Garcia Lorca. These are passionate poems full of longing, searching, and the mysterious. I had an English title for the book, just in case. Thankfully Gloria Mindock, the Editor/Publisher at Cervena Barva Press, insisted I stay with the Spanish title. I think it captures the feel and passion of the poems. I should also add that the title is in no way a slight to the Romani people.
RO: How does your background as a writer inform your visual art? Conversely, how does your background in visual art inform your writing?
RG: Sometimes a line of poetry will spark an image, and I find myself kicking a painting around in my head until I put it on canvas. However, art greatly inspires my writing! I write a lot of ekphrastic poetry, and flash fiction pieces based on art work I see.
RO: Every artist has subjects that pop up again and again in his or her work. What are those subjects for you? Is there a different subject you’d like to tackle in future work?
RG: Race always pops up in my work. As I study race relations in America I’ve begun to realize why. Everything in America is hypersexualized, and hyperracialized. So in a way it is inevitable for an artist to either write/draw about it, or avoids it. Relationships are also a subject that comes up in my work. I find interpersonal experiences fascinating, and that comes up a lot.
RO: If you could spend an evening with any writer, living or deceased, who would you choose and why? On a similar note, if you could spend an evening with any visual artist, living or deceased, who would you choose and why?
RG: Wow. Can it only be one? That’s impossible. However, I’ll cheat a little. I’d really like to go back, and hang out with the Harlem Renaissance artists, the whole crowd, at one of those big band jazz swing clubs! I believe that the artists of the Harlem Renaissance are the American version of all those European writers that wrote under communist, and dictatorial regimes. The conditions they endured, (racism, brutality, being marginalized, economically) and they still produced amazing work. Yes, definitely the Harlem Renaissance.
RO: Is there anything handmade that you own that is particularly meaningful to you?
RG: I like to collect old stuff, but nothing handmade that I can think of. I have an old Olympia typewriter from the 60’s.
RO: If you could have one superpower, what would it be and why?
RG: Easy, a healing factor. Wolverine is one of my favorite characters for that reason. Yep, indestructability, if I could have a second, The Force! I want to be a Jedi slash Mutant!!
RO: To conclude, what is a lesson you have learned from creating art that you would like to share with others?
RG: I’d like artists to know that working at your craft every day strengthens the muse. It’s nice and whatever to think about the muse. However, hard work is the best muse. Or maybe it is the best thing we can do for the muse. Thanks Michelle!!