An Interview with Jota Leal

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.

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