From the moment you became aware that you wanted to be an artist, what was your family’s reaction? Did you count on their support or was there someone in particular who guided your vocation for art?

I must confess that I was lucky because my parents supported me. They didn’t understand anything, but they told me “If it’s what you love, do it”. So, in that sense, I did receive the support of my parents. Interestingly, my father was a good cartoonist when he was a child, but he didn’t continue in the art; for many reasons he devoted himself to work and didn’t continue drawing. My mother was a dollmaker, she made rag dolls, she was an artisan; So, that influence was there, in my life, since I was a child. My father is a shoemaker, he repairs shoes. Let’s say that the constant contact with the world of handicrafts, with the manual world, in some way it trained me towards creative work. At the age of 17 I fall into the great ontological question: what do I want to be in life? And when I decide that it would be art, since I couldn’t see myself doing anything else, my father told me that if that was what I liked, I should do it.

Apart from your parents, was there any other person who has had an influence on you, any artist in particular?

Yes, I was also lucky enough to meet the husband of a cousin, a self-taught painter, a very good watercolorist. Since I was a child, when I went to visit my aunt, I saw him preparing his stage, taking photographs, preparing the pigments to make his watercolors. So, let’s say that he guided me a little from drawing, approaching color, but as he did it, in a self-taught, intuitive way. He was another important person who stimulated me between my childhood and adolescence. Then, when I entered the university, the contact with my professors generated great enthusiasm in me when I saw them working directly in the workshop, which further opened my creative vein.

Iracundo - Arnaldo Delgado

In your creative process, do you have any strange or special way of working in your art workshop?

Sure, of course I have it. I believe that all artists have rituals, ways of proceeding before, during and after the creative process. In my case I begin to speak alone, to soliloquize, or as if I were speaking with another person; sometimes I even talk to my characters, with my dolls, with the drawings, to start a dialogue that starts to motivate me. In the end, I think they start to come to life; I believe it. A little crazy, but it works for me. That’s one of the things that happens to me. Another thing is the music; sometimes I need music in my ritual. It all depends on my mood; if I’m angry I put on some loud music so that this mood reaches an interesting climate; and if I am relaxed, calm, I listen to classical music, more pleasant, and the artwork begins to flow, according to the rhythm, of course. That influences the work, whether it is fast or slow. But in my work, there is a dialogue between intuition, emotion and thought. They are connecting.

Niña del sueño verde - Arnaldo Delgado

In your creative process, do you have any strange or special way of working in your art workshop?

Sure, of course I have it. I believe that all artists have rituals, ways of proceeding before, during and after the creative process. In my case I begin to speak alone, to soliloquize, or as if I were speaking with another person; sometimes I even talk to my characters, with my dolls, with the drawings, to start a dialogue that starts to motivate me. In the end, I think they start to come to life; I believe it. A little crazy, but it works for me. That’s one of the things that happens to me. Another thing is the music; sometimes I need music in my ritual. It all depends on my mood; if I’m angry I put on some loud music so that this mood reaches an interesting climate; and if I am relaxed, calm, I listen to classical music, more pleasant, and the artwork begins to flow, according to the rhythm, of course. That influences the work, whether it is fast or slow. But in my work, there is a dialogue between intuition, emotion and thought. They are connecting.

There are some faces in your work that I associate with you. Are they self portraits?

Yes, there is a lot of self-portrait in my work. Leonardo da Vinci said that one of the most difficult things was for the artist to get rid of their demons, of those things that torment them. So somehow what haunts is are there in the mirror. Yes, my work is very autobiographical. Although I try not to be a personal portrait, but somewhere the mirror comes, and I accept it.

Are there any experiences not related to art that you consider significant in some aspect of your artistic career?

I must say that I love to read; I live surrounded by books. I worry a lot about trying to stay up to date on what’s happening in art and in the world, the news. I try to read as much as I can daily. Reading is an important part of my research; In addition, I feel that as an artist one is a creator and a giver of knowledge, so one has to be constantly feeding oneself, acquiring information, and as a teacher I have to know theories, compare, do analysis, so reading, books, authors, are a fundamental part of my development. Sport, curiously, also helped me. I practiced fencing. As a saber fencer I was part of the Merida team for 6 years. Sports discipline has helped me a lot; I think I transferred it to art. Football has also worked for me in art.

What makes you feel proud? apart from being an artist, of course

I think that trying to be a good person; not just be a visual artist. Defending human dignity, the principles of life, human values, is what I have tried to do, not only as an artist but as a human being, that has made me feel proud…

Pesadumbre- Arnaldo Delgado

And what do you fear in life?

I think I am afraid of not having ideas, of remaining blank, that one day the affluent of creation will disappear; not even to death. Not knowing what to do on a artistic level, that terrifies me a lot.

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