An Interview with Jota Leal - Revision history

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==Article Transcript==
ISCA is honored to have Jota Leal as
our special guest for the 2013 ISCA
Annual Convention. Jota is a worldrenowned
painter who currently exhibits
with Jack Galleries in Las Vegas,
Chicago and New Orleans. Originally
from Venezuela, where he received
the Caricaturist of the Year Award in
2003, Jota began drawing and painting
at a very young age. That talent
was encouraged by his supportive
parents, who made him believe that
art was something he was good at.
Although he graduated with honors
with an electrical engineering degree,
art has always been his way of life. He
works with pencil on paper, acrylic on
board, and acrylic on canvas, where he
paints the inner souls of his subjects.
Jota took time to candidly answer
some questions for the members
of ISCA.

'''Where are you originally from?''' 
I’m from Venezuela. I was born in a small,
small town, an oil village from the dry east,
the name of which I have no desire to call to
mind. The village looked to me like the dusty
Wild West from the movies, but no horses
― just white pickups; no people in leather
and hats ― but rather in overalls and security
helmets.

'''What brought you to the United States?''' 
Basically, my artwork brought me to the
United States. I found the opportunity to
exhibit it.

'''When did you know you were interested in art?''' 
I didn’t know I was interested in art. Art was
always a need; no, actually, a way of life. It is
like you asking me, “When did you know you
were interested in breathing?''' ” For me, there
was no choice.

'''When did you know caricature was your calling?''' 
When I was 6 or 7 years old, I attended an
art class. I remember myself being bored
of drawing empty bottles and plastic fruits.
So, I told my teacher I wanted to paint faces,
I wanted to do portraits. The teacher ― in
order to avoid my annoying requests, I believe
― gave me an old book with a bunch of faces.
The faces were of scientists or writers. … I
don’t really remember; but they were portrayed
in ink, and in caricature shape. He then told
me, “Copy those.” I was blown away. It was
magical. I loved the way the faces looked. I
had watched cartoons on TV before, of course,
but until that moment, I hadn’t made the connection.
Ok … I believe I said to myself at that
moment (because in those days I used to talk
to myself, a lot) something like, “Ok, there is
another way to portray people, and now you
are allowed to do it.”

'''Are you self-taught?''' 
Yes, I am self-taught. My secret is I have
painted my whole life, more than 30 years
of self-training. I said, before I went to an art
class when I was a kid, that I didn’t agree with
going to a class. But my parents thought it
would be a good idea for me to attend; and
it was. Let’s say, there was not too much
patience for me during that time.

'''Do you have mentors?''' 
My parents. But with art, I have a friend. …
His name is Turcios.

'''Who inspires you?''' 
This is a hard question, because if I started
to name people, I would leave someone
out. And getting inspiration is not just about
painters, not even just about artists, but about
people. We can find inspiration in everything
around us.

'''How long does it take you to do a painting once you have your concept?''' 
It depends. It depends on the size of the
canvas, the way I choose to do the painting
― more loose or detailed, and so many,
many things. Sometimes I finish a painting
in four or five days; sometimes they take me
two or three months. Yes, there are moments
I’m painting something, and again talking to
myself, I say: “Why am I painting this?''' ” When
this happens, I put it aside. Sometimes, days
or weeks can pass by. Then, later on, I feel
again like it’s the right one to work on.

'''How do you come up with your concepts?''' 
I do portraits. Doing portraits is not a hidden
or deep science. When they are not commissions,
I paint whoever I feel I want to paint,
and when I say “feel,” it is because my spirit,
on some level, gets submerged into that person’s
life in order to take that soul in canvas.
Sometimes you have read about the subject
and listen a lot in order to get submerged.

'''How long does it take you to develop your concepts?''' ''' 
This is the hardest part. It should be,
because it’s the most important if not the
only part that really matters. The second
part, the painting process, is mechanical,
like the print in a book after the chapters
are written. So, you need something good
to say.
About the length of time, as everything
else, it depends. Sometimes you have
those moments where the planets align
and a lightning hits you in the head and
poof, magic! The image is in a spotlight
and appears like it’s floating. But, the rest
of the time, it is painful.
Like today, I’m taking time to do other
important stuff, like answering these questions.
I am waiting for an evasive concept
I have been struggling with, for weeks,
to simply get tired of waiting in my head,
and then I can fight back and take it down,
finally. Sometimes, the waiting process will
take weeks. When the idea is elusive, you
need to take some moments off, and do
productive stuff, or some less productive
stuff. Sometimes I will go out for a walk, go
to the movies (morning or noon time, no
later than that), and play the guitar (I play
badly), or just put my head on the pillow
and watch the roof.
Do you still feel like there is more for
you to learn, or are you where you want
to be as an artist?''' 
NO artist will ever tell you, never ever,
he is where wants to be … never! At
least, not a real one. We will die learning.
Even worse, we will die unsatisfied and
consciously ignorant. Of course, we have
our good moments, and that is part of this
journey. But, we are always searching for
that perfect painting. And, thank God, that
never comes.
When you think you are in the top, the only
way you have left to go is the descent!

What makes a successful caricature, in
your eyes?''' 
It has to do with two things: First, find the
soul and spirit of the person in the portrait,
or at least intuit it. Second, make sure
that the whole composition works. It is not
just about the face. The whole personality
should be fixed within the piece of paper
or canvas.

What are key points you are trying to
achieve with your caricatures (i.e. humor,
recognizability, etc.)
I have no intentions really, and actually humor
or recognizability are the last things in my list
(the last one maybe because it is tacit). In
our heads when we see people, we do not
see them like they really are. The mind can’t
re-create the face in details, so we create a
version of the face that works for us, unconsciously.
What I’m trying to do is give my
interpretation of the character or person, my
interpretation of what the mind really sees.
In our heads we see the people, not like they
really are. I think the mind cannot re-create
the face in details, so we create a version that
works for us without being aware. What I do,
or at least am trying to do, is give my interpretation
of what my mind really sees.
Does anyone else in your family do art?''' 
No one.
I read that you try to input the soul of the
people in your paintings ― is this something
you have always wanted to achieve?''' 
It is the only thing that matters.
As a caricaturist, what do you hope to
achieve as an artist, five years from now?''' 
Have my third book and my art exhibiting
outside of this country and continent.
How did you hear about the ISCA?''' 
I really don’t remember. It was a long, long
time ago. Maybe I saw a colleague winning
one of the giant “noses,” and I curiously
looked into it.
What is your favorite medium to work
with, and why?''' 
Pencil. I say the pencil, because as a tool, it
is like an extension of your hand and arm and
the closest path with your mind.
What is your favorite piece of art you have
painted up to today?''' 
You don’t ask parents which is your favorite
son yet.

What has been your most challenging painting, and why?''' 
Believe me, in every painting I try to challenge
myself. It is the only way I know how to do
things. I have had rough ones, but beyond
the technique, if I don’t see on the canvas
what I thought was in my mind, I have painful
moments. But, in these painful moments,
every time I have them, I know I’m doing
something good that will be worthy. If you see
my artwork, you will find the answer. Just look
for your favorites.

Why do you think caricature is an important art form?''' 
Art is important period. I don’t like to put tags
on it. There is good music and bad music,
that’s it. And regrettably it is worse for caricature
where society loves it but doesn’t take it
seriously. It is the same with illustrators. Illustrators
are kind of like the nurses, if we think
about art as a hospital. Fine-art painters are
the surgeons and medics; and we, the caricaturists,
are the ones who drive the ambulance
… in the eyes of the world, I mean. Each artist
finds their way of expression, and caricature
is ours. It is important to us.

What is your favorite thing about being an
artist?''' 
I feel we are different. I’m not saying better
than the rest, but special.

In closing, do you have any advice you would like to give to up and coming artists who want to choose this as their art form?''' 
The two pieces of advice I always give are:
Work every single day and want it badly. I
know in the beginning it is hard to dedicate
the whole day to painting, because we are
studying or we have jobs. But it is important
to find at least that hour or half hour to draw
each day. You must work that muscle. The
second piece of advice is one about getting
your dreams to come true. No one is going to
knock at your door. You have to make things
happen. There will be a lot of “NOs,” but this
is okay, because it will only make you better.

''To learn more about Jota Leal, please visit his website at: www.JotaLeal.com, and on Facebook.''

{{2013.4Navbox}}

@@ Line 42: / Line 42: @@
 always a need; no, actually, a way of life. It is
 like you asking me, “When did you know you
-were interested in breathing?'''<br>” For me, there
+were interested in breathing?” For me, there
 was no choice.

@@ Line 96: / Line 96: @@
 two or three months. Yes, there are moments
 I’m painting something, and again talking to
-myself, I say: “Why am I painting this?'''<br>” When
+myself, I say: “Why am I painting this?” When
 this happens, I put it aside. Sometimes, days
 or weeks can pass by. Then, later on, I feel
@@ Line 111: / Line 111: @@
 and listen a lot in order to get submerged.
-'''How long does it take you to develop your concepts?'''<br>'''<br>
+'''How long does it take you to develop your concepts?'''<br>
 This is the hardest part. It should be,
 because it’s the most important if not the

@@ Line 119: / Line 119: @@
 are written. So, you need something good
 to say.
 About the length of time, as everything
 else, it depends. Sometimes you have
@@ Line 126: / Line 127: @@
 and appears like it’s floating. But, the rest
 of the time, it is painful.
 Like today, I’m taking time to do other
 important stuff, like answering these questions.
@@ Line 141: / Line 143: @@
 badly), or just put my head on the pillow
 and watch the roof.
 Do you still feel like there is more for
-you to learn, or are you where you want
+'''Do you still feel like there is more for you to learn, or are you where you want to be as an artist?'''<br>
 NO artist will ever tell you, never ever,
 he is where wants to be … never! At
@@ Line 153: / Line 154: @@
 that perfect painting. And, thank God, that
 never comes.
 When you think you are in the top, the only
 way you have left to go is the descent!
-What makes a successful caricature, in
+'''What makes a successful caricature, in your eyes?'''<br>
 It has to do with two things: First, find the
 soul and spirit of the person in the portrait,
@@ Line 166: / Line 167: @@
 or canvas.
-What are key points you are trying to
+''What are key points you are trying to achieve with your caricatures (i.e. humor, recognizability, etc.)?'''<br>
 I have no intentions really, and actually humor
 or recognizability are the last things in my list
@@ Line 187: / Line 186: @@
 Does anyone else in your family do art?'''<br>
 No one.
 I read that you try to input the soul of the
-people in your paintings ― is this something
+'''I read that you try to input the soul of the people in your paintings ― is this something you have always wanted to achieve?'''<br>
 It is the only thing that matters.
 As a caricaturist, what do you hope to
@@ Line 195: / Line 193: @@
 Have my third book and my art exhibiting
 outside of this country and continent.
 How did you hear about the ISCA?'''<br>
 I really don’t remember. It was a long, long
 time ago. Maybe I saw a colleague winning
 one of the giant “noses,” and I curiously
 looked into it.
 What is your favorite medium to work
-with, and why?'''<br>
+'''What is your favorite medium to work with, and why?'''<br>
 Pencil. I say the pencil, because as a tool, it
 is like an extension of your hand and arm and
@@ Line 210: / Line 209: @@
 son yet.
-What has been your most challenging painting, and why?'''<br>
+'''What has been your most challenging painting, and why?'''<br>
 Believe me, in every painting I try to challenge
 myself. It is the only way I know how to do
@@ Line 222: / Line 221: @@
 for your favorites.
-Why do you think caricature is an important art form?'''<br>
+'''Why do you think caricature is an important art form?'''<br>
 Art is important period. I don’t like to put tags
 on it. There is good music and bad music,
@@ Line 236: / Line 235: @@
 is ours. It is important to us.
-What is your favorite thing about being an
+'''What is your favorite thing about being an artist?'''<br>
 I feel we are different. I’m not saying better
 than the rest, but special.
-In closing, do you have any advice you would like to give to up and coming artists who want to choose this as their art form?'''<br>
+'''In closing, do you have any advice you would like to give to up and coming artists who want to choose this as their art form?'''<br>
 The two pieces of advice I always give are:
 Work every single day and want it badly. I