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In response to the questions put to her by Venezuelan filmmaker José Antonio Pantin, Gego remarks on the origin of her art and the processes it involves, focusing specifically on her three-dimensional work. She states that her works have been produced from a “structural mentality,” which as she clarifies, is a gift not devoid of emotion. It is in that mentality, along with her hands and eyes, in which the origin of her work lies. On that basis, hers is an operation “at the service of the act of making.” Regarding her three-dimensional work, Gego expresses her desire to project the “transparency of volume” in order to be able to appreciate it from an array of perspectives.
This document is one of the transcriptions of filmed encounters between Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, and José Antonio Pantin, a Venezuelan filmmaker; the encounters took place in 1981. The origin of the transcriptions is a project organized by the Galería de Arte Nacional (GAN) of Caracas that same year whose aim was to document the careers of major Venezuelan visual artists in the audiovisual medium. Though the project did not prosper, the transcriptions of a questionnaire and of two interviews were in the artist’s archives, now housed at the Fundación Gego in Caracas, and available to researchers and specialists for consultation. In 2001, in the context of the exhibition Gego, 1955–1990 at the Museo de Bellas Artes, some of the audio and visual material produced by these encounters was salvaged for a documentary that Pantin directed entitled 10 minutos con Gego [10 Minutes With Gego]. This document contains only Gego’s typed and signed responses to Pantin’s questions. In them, Gego expands on the modalities and phases of her artistic creation, that is, ideas that she had formulated in earlier texts. This enriches the vision of Gego’s creative process and of what she was after, especially in her three-dimensional work. Regarding that work, Gego furthers the ideas expressed in her undated text “Escultura,” stating that the focal point of her artistic search is “transparency.” Indeed, in this lies the most defiant and singular element of her three-dimensional work insofar as transparency is antithetical to traditional sculpture as a genre. In this document, Gego sheds light on a key component of her creative process when she affirms that the origin of her work lies in her senses and her emotions; in other words, it is intuitive, which when harnessed by the gesture and sensibility born of an innate “gift,” give shape to structural work. Gego reaffirms the sense of freedom and chance that her work contains despite her use of geometry, technique, and rigor.This document is reproduced in María Elena Huizi and Josefina Manrique (organizers): Sabiduras y otros textos de Gego / Sabiduras and Other Texts by Gego (Houston: International Center for the Arts of the Americas, The Museum of Fine Arts, Houston; and the Fundación Gego, 2005), under the title “No sé de dónde viene,” [I don’t know where it comes from], taken from the first phrase that the artist wrote in this text.