Rogerin draws from a place of intuition, trust and pleasure. He is currently on a journey of figurative drawing and exploration of scale. Through his artwork, he tries to pervay feelings of self-reflection, silence, solitude, communion with nature, and youth in the world. We had the opportunity to have a chat with Rogerin and asked him a few questions:
Could you please provide some insights into your background and explain what inspired you to pursue a path in Art?
I would have to say storytelling. My grandma was a great storyteller.She was from another country like myself and older immigrants have to rely most of the time on their families to interact with others so I always had the task to entertain her. I thought of that when I was creating art and maybe that guided me in a sense of putting a work out there that was digestible and entertaining for her specific perspective. Creating in this way was fun and kind of punk, especially studying in a school with a very strict idea of what art is and what art is supposed to be. I wasn’t impermeable to Arts University and it was crucial to study bodies of work that still inspire me to this day like Francis Allys, Sophie Calle and William Kentridge.
Your body of work exhibits a remarkable consistency in aesthetics. Could you elaborate on how you developed and incorporated these aesthetics, including your choice of color palette, composition, and characters?
It’s really interesting and I think it is common for an artist to look at early work and see scary coincidences. I often find drawings of myself as a child that portray little persons with big hands and feet. As an art teacher I ask art students to forget perfectionism, draw a lot and always remember the previous steps. This is important in a sense of being coherent with your journey as an artist. I think that this is intuitive, but remembering previous steps can keep you in a flow state. Also at some point I envied my peers because they had more time, more money, more space but somewhere along the line I started to work well within my limits. I wanted to photograph but I didn’t have a camera. What I did have was a scanner in the office where I worked as an intern doing video editing. So after work I would scan all the drawings in the best resolution that I could so I could share them online. It’s been almost 10 years and I still am walking that same path in the same way. I fell in love with the process and I always find new and exciting ways of expressing myself through drawing.
Can you share some of your thoughts on publishing your artwork using blockchain technology? And how the community has accepted it?
Being an artist living in the countryside I always felt a little like an outsider. When the pandemics hit and we all had to be inside it was the first time that I started seriously sharing, consuming and curating art online. That bridge building with others through the internet was and is a way for many to stay creative. Creating in the blockchain is for me a reinforcement of the importance of keeping these bridges strong.
What does the future hold for the rogerin name?
rogerin is a way for me to challenge myself creatively and to connect with the art of others. I want to always take a step further into the art I would like to see in the world. I would love to collaborate more on multiple levels with other artists and agents of the ecosystem. Also personally I would love to share a short movie on blockchain sometime in the near future.
