Interview
Mario Molins
Mario Molins (Binéfar, 1983) is a graduate in Fine Arts from the University of Barcelona with doctoral studies. He is a multidisciplinary artist with a restless spirit and a strong connection to nature. With a broad exhibition trajectory, as well as numerous mentions and awards, it is worth noting the recognition awarded in 2016 by the Association of Art Critics of Aragon as the best Aragonese artist under 35. His work is present in numerous public and private collections, such as "Catharsis," a monumental work located in the José Antonio Labordeta Grand Park in Zaragoza, or his recent intervention (2023) in the Posets-Maladeta Natural Park, as part of the BallArte Festival. He has also published two books of poetry, "The Bark of the Heart" (Círculo Rojo Editorial, 2020) and "With the Heart in Hand" (Aliar Ediciones, 2023). To discover the origins and essence of this artist's work, one only needs to watch his moving video "My Grandfather is an Olive Tree" on YouTube.
What is your background and how did you start your journey in the art world?
“I hold a Bachelor's degree in Fine Arts from the University of Barcelona, with doctoral studies. I am a multidisciplinary artist, with a restless spirit and a strong connection to Nature. My exhibition trajectory is extensive, as are my mentions and awards. It is worth mentioning the recognition I received in 2016 from the Association of Art Critics of Aragon (Spain) as the best Aragonese artist under 35. My work is in numerous public and private collections in Spain, such as "Catharsis," a monumental piece located in the José Antonio Labordeta Grand Park in Zaragoza (Spain), or the recent intervention (2023) in the Posets-Maladeta Natural Park (Spain), as part of the BallArte Festival. I have also published two books of poetry, "The Bark of the Heart" (Círculo Rojo Publishing, 2020) and "With the Heart in Hand" (Aliar Ediciones, 2023). To discover the origins and essence of this artist's work, one only needs to watch the emotional video "My Grandfather is an olive tree" on YouTube.”
What inspires you?
“Nature, in its broad spectrum, encompasses both the real and the human nature. Although I have focused more on the investigation of real nature, especially that of trees, perhaps because I have a special connection with them. I grew up among trees, and my grandfather taught me the pruning technique, both in olive, almond, and oak trees, for their care and development. Later, this tool became my sculptural tool. Pruning dead trees to give them a new life in the form of sculpture became my passion. When my grandfather's health deteriorated due to Alzheimer's, I decided to help him not forget so quickly. That's why I brought an olive tree to his house to continue pruning trees together. Over the months, my grandfather weakened while the olive tree continued to grow. I then understood that his essence was transferring to the tree we were caring for together. The day my grandfather passed away, I planted the olive tree at the entrance of my workshop. Since then, I have taken care of it meticulously. When I arrive at the workshop, I feel that my grandfather is always there, waiting for me to prune, this time, sculptures.”
What themes do you pursue? Is there an underlying message in your work?
“In my artistic work, I seek to establish a deep dialogue with nature, especially with trees and the surrounding landscape. The themes I pursue are intrinsically linked to this connection with nature and the exploration of the essence of trees themselves. I address themes such as the relationship between light and shadow, transformation and regeneration, life and death, and the connection between human beings and their natural environment. Through the use of materials such as wood, bronze, and natural inks, I seek to express the beauty and essence of trees, as well as their life cycles and their relationship with the landscape. My work carries an underlying message of respect and reverence for nature, as well as a reflection on the fragility and beauty of the natural world. I invite the viewer to contemplate and reflect on the relationship between art and nature, and on the role of human beings in the balance and harmony with their environment.
On the other hand, in my interventions, in situ, in nature, I developed a "living" sculpture, by title “Catharsis” in an olive grove near Binéfar, in San Esteban de la Litera, Huesca (Spain), a place surrounded by the imposing Eagle Stone. I worked on an old disused olive tree in collaboration with the owner of the estate. My intervention aimed to reveal the authenticity of the tree, moving away from the artificial. I proposed a sustainable coexistence between man and nature, replacing transformation with care, as an extension of the pruning concept. The tree accepted my intervention and began to revitalize itself; over time, it began to produce olives, which were transformed into oil, in such a way that I turned a semi-dead tree into a sculpture that yields a harvest. In summary, I pursue themes related to nature, transformation, light and shadow, and the connection between human beings and their environment in my artistic work. My work carries a message of respect and admiration for nature, as well as a reflection on the relationship between art and the natural world.”
How would you describe your work?
“My work delves into the deep connection between nature and the sacred, exploring the essence and voice of trees in a constantly changing world. Through my art, I seek to convey the richness of ancestral traditions that link trees to the divine and the human. The spiral becomes a recurring motif in my work, symbolizing the constant cycle of life and death, as well as perpetual rebirth. This connection with nature is rooted in my personal experience, especially in the teachings received from my grandfather, who imparted to me the art of pruning as a form of care and therapy. My work goes beyond the visual, becoming a multisensory experience that invites the viewer to explore the touch, smell, and sound of carved trees. Through my sculptures, I seek to establish an intimate communication with nature, unveiling its deepest secrets and revealing its interiority. In summary, my work is defined by a poetic exploration deeply rooted in nature, which seeks to reveal the essence and voice of trees in a changing and challenging world.”
Which artists influence you most?
“In my artistic work, I find significant influences from various prominent artists in the contemporary art scene. Through my focus on dialogue with nature, the use of natural materials, and the transformation of matter into art, I can clearly identify the following influences: Henry Moore is one of those artists who deeply influences my work. I share with him an affinity for working with natural materials, such as wood, in a way that resonates with his organic approach. My interest in natural forms and my dialogue with the environment resemble the sensitivity Moore exhibited in his work. Another important reference is Barbara Hepworth, another figure who has left a mark on my work. Her attention to organic forms and her ability to find the essence of materials resonate deeply with me. By carving wood in a way that reveals its "soul" and by engaging with nature, I feel an undeniable connection with Hepworth's sculptural practice. Andy Goldsworthy is another artist whose influence is evident in my work. Like Long, Goldsworthy is known for his commitment to nature and his practice in Land Art. My sensitivity to using natural materials and creating works that interact with the landscape reflects his meticulous and respectful approach to the natural environment. Lastly, Giuseppe Penone has also left a mark on my artistic work. His exploration of the dialogue between art and nature, as well as his interest in the transformation of natural materials, resonates deeply with me. Like Penone, I find beauty and meaning in nature and use my work to reflect on the relationship between human beings and the natural environment. These influences derived from artists such as Henry Moore, Richard Long, Barbara Hepworth, Andy Goldsworthy, and Giuseppe Penone have enriched and shaped my artistic practice, guiding me toward an approach that celebrates the interaction between art and nature.”
“My work delves into the deep connection between nature and the sacred, exploring the essence and voice of trees in a constantly changing world.”
What is your creative process like?
“As a sculptor, my creative process is nurtured by a deep connection with nature and a firm commitment to dialogue between art and the natural environment. From my early steps in the art world, I have sought to establish an intimate and respectful relationship with the materials I use, especially the wood from dead trees that I find in my surroundings. Having my workshop located in a farmhouse near Binéfar allows me to be in direct contact with nature, and this physical interaction deeply influences my creative process. It is in this environment where I find inspiration for my sculptures, where the trees "speak" to me and guide me before I intervene in them with my tools. My approach goes beyond the mere visual representation of nature. I seek to express concepts and emotions through my works, using natural elements as metaphors to explore deeper themes such as the cycle of life, transformation, and the connection between art and nature. For me, the exploration of innovative techniques is fundamental. I experiment with various tools and materials, from using chainsaws to sculpt wood to creating natural inks for my prints. This constant search for new forms of expression allows me to expand my artistic vocabulary and find more authentic ways to communicate my ideas. In my sculptures, I incorporate symbolic elements that refer to the cycle of nature. Fire, for example, becomes a purifying and transforming element that leaves its mark on the wood, adding layers of meaning to my works and encouraging reflection in the viewer. In summary, my creative process as a sculptor is characterized by a deep immersion in nature, a respectful dialogue with materials, and a constant search for artistic expression that transcends the visual to explore universal and conceptual themes. Each work is a testament to this intimate connection between art and the natural environment, an invitation to reflect on our relationship with the world around us.”
What is an artist’s role in society and how do you see that evolving?
“As an artist, my role in society encompasses various dimensions. My strong attachment to nature drives me to use my art as a means to sensitize people to the beauty and importance of the natural environment. Through my works, I convey powerful messages about the interconnection between humans and nature, advocating for its preservation and protection. Furthermore, as someone concerned about the dehumanization of art, I am committed to rehumanizing it. This involves emphasizing personal expression, emotion, and human connection in my creations, as opposed to impersonal or commercial trends. I work to reclaim authenticity and uniqueness in art, fostering genuine dialogue between the artist, the work, and the viewer. As for the evolution of my role in society, I see a movement towards more active engagement in social and environmental issues. I use my platform to advocate for social change, promote justice, and raise awareness about urgent issues such as climate change and sustainability. Thanks to new technologies and online platforms, I have the opportunity to reach broader and more diverse audiences, thus amplifying the impact of my work. In summary, as an artist committed to nature and the humanization of art, my role in society is that of a change agent and a storyteller. I inspire, educate, and mobilize people towards a greater appreciation for nature and a deeper connection with our shared humanity through my art.”
Have you had any noteworthy exhibitions you'd like to share?
“I will address this section by mentioning the experience of having exhibited at a place like the Center for Art and Nature (CDAN / Beulas Foundation) in Huesca (Spain), with my exhibition "Inner Landscape, Outer Landscape," in 2013 curated by Ricardo García Prats. The audience's experience would be as follows: As I entered Mario Molins' exhibition at the CDAN in Huesca, I was immediately captivated by the palpable connection the artist establishes with nature through his sculptures. From the very beginning, I could perceive how each work was more than just an artistic representation but a true manifestation of the dialogue between art and the natural environment. The sculptures, carved in woods such as almond, olive, walnut, and poplar, among others, radiated a unique vitality, as if they were imbued with the spirit of the trees themselves. Molins' choice of natural materials and the meticulous carving process, carried out in his workshop located in the countryside, underscored Molins' profound respect for the surrounding nature. As I toured the exhibition, I noticed how each sculpture seemed to merge with the landscape, as if it were an organic extension of the environment. The strategic burns in some of the works, which initially puzzled me, took on new meaning when I understood their symbolism in the natural cycle of life and transformation. Interaction with the sculptures was almost inevitable. As I approached each work, I felt an invitation to explore and contemplate the intricate details, the knots of the trunks, the rough textures of the wood. It was as if Molins himself were guiding me on a poetic journey through the forest of his creation. But what struck me the most was the very conception of art as a way to venerate the cosmic connection between earth and sky; Molins proved to be more than a sculptor: he was a guardian of the forest, a sage who invited us to reflect on our place in the natural world. In conclusion, Mario Molins' exhibition was not only a showcase of art but a sensory and spiritual experience that left me with a deep appreciation for the beauty and poetry of nature, expressed through sculptures that continued to convey the same message as when they were sprouting in the territory.”
