Q. And how were these obstacles resolved or is this still
in progress?
JMM. Many are completely resolved because if you insist always find a way, the necessary information. Many
times most unexpected people give you keys that will
serve to resolve important technical secrets: the seller of
art materials, carpenter, house painter, the skilled and art
enthusiast relative ... They, but mainly growing up in a
city rich in art as Madrid and my insistence on trying all
kinds of technical resources were the basis for my artistic
training. Currently I own a lot of muscle in this regard
and when I need to learn something new always find in
me the strength, perseverance and discipline needed to
find the most appropriate solution. Nothing is given;
when you know this, you know almost everything.
Q. Can you determine at what point was the turning
point for your journey?
JMM. I characterize myself for accumulating in my work
and in my style features of many artistic styles. I drank
and I continue drinking from expressionism, realism,
surrealism, impressionism, abstraction, popart and any
style that brings me something. My work, my style, has
always grown coming and going on itself and on earlier
findings. This and to be painting for more than 45 years
leads to say that in my career turning points are infinite.
Still, if I had to pick one it would be the time when I left
to live in the Mediterranean, where I met my wife and
where my children were born. The blinding Mediterranean light and joy of life completely changed my style:
my color became intense, passionate; it expanded my
stroke, I became more baroque in the forms. The Mediterranean, the light, the sea and the landscape remained
with me forever.
Q. As unique as the sound of the mirror dropping in
your camera comes the creation of things that were never
realized before, how did you access the inner resources to
build your vision?
JMM. I like this question. Picasso said “inspiration exists,
but it has to find you working”, which is a great truth.
But to be working is not to be painting as an automaton; to be working also involves being closely watching
a scene, or a feeling; to be working is to watch carefully
how your paintings evolve. It is also read and be curious
about everything. The painter has to live and observe,
always thoughtful, at all times. In that state of immersion
and vital work is when spring up the answers you need.
Jose Manuel Merello
Children of La Mancha
(73 x 92 cm)
Mixed media on wood