THE FINE PRINT: Did you ever consider adding photography into your skills in order to create fully original pieces? Or is remaking existing artwork and adding your touch to it your preferred method?
JOSE ROMUSSI: Yes I have some works which include my own photographs, but I still publicized them. I’m working now on defining my own style in photography. Still in the first steps, but it will take a while to figure it out.
TFP: How would you say your Chilean culture and heritage influence your work?
JR: I can’t say “Chilean culture”. I have always been influenced by my friends and their artist lifestyle. That is the lifestyle I admire, and try to live by myself.
TFP: How did embroidery as an art form come to you? And why did you decide to use it as your main medium for your work?
JR: I was using painting in the beginning to represent my ideas like edible aniline. But I wasn’t happy with the result. I didn’t study art, so I started experimenting with different materials and surfaces until I found my own style through the embroidery technique. I did an interpretation with embroidery by chance in one of my paintings, and it felt more like my own style than the painting by itself.
TFP: What is your most used or preferred technique to achieve a uniform and even result over a photograph?
JR: I prefer to experiment with “free style,” without a specific technique. Many of the embroideries in the photos don’t have a specific design, this is to protect the photography from getting destroyed by the holes of the technique.
TFP: In your series “Kunst im Untergrung”, you embroided over giant portraits in order to expose them in advertising spaces in the underground subway. Tell me more about your creative process for this series.
JR: It was part of a competition that I won in Berlin last year. My proposal was to do portraits of people that moved in a particular Ubahn station in berlin, also accompanied with interviews. The intervention mood was inspired in the many graffitis that you can find on the street and in some Ubahn stations, and of course the intervention was also about what people can imagine, dream or whatever that comes to their minds when they used the Ubhan train.
TFP: Your #ANTI-SERIE is my personal favorite, because it kind of scares me in a weird way. Even though they represent a whole, some images in that specific series have parchment paper with markers doing the distinction, not embroidery. Why did you decide to switch it up?
JR: Thank you for asking me this! Some interviews just focus in my connection with fashion and understand my work to be like a decoration. The” Anti-Serie” is something I have been developing after the Kunst underground. Where I first started using words in my artworks. The designs also involve a different, more personal process, in the way that I let myself incorporate my own story, things that happened to me or disturb me for example.
TFP: After being showcased in the UK, Germany, Chile and so many more, where could we catch your latest work in the upcoming year?
JR: In Berlin on September 10, 2015. I will have my second show of this year, curated by Manuela Morales.