VIP - VideoChannel Interview Project

Cañas, María

María Cañas
Spanish videomaker


Interview: 10 questions

Interview:10 questions

1. Tell me something about your life and the educational background.

I love Bacon, Caravaggio, Goya, Fuseli, Balthus, Hopper, Duchamp … I started painting and making collages craft. But my mental speed, how to express ideas and tell stories need digital manipulation and audiovisual narrative. Although many of my videos as La Cosa Nuestra, the Fire and Kiss Kiss the Murder, shows the influence of Baroque Spanish paintings.

2. When, how and why started you filming?

In 1999.
It was something that I need to show my soul.

3. What kind of subjects have your films?

I am interested in the work of art open and polysemic. An instrument of poetry, sense of liberation, subversion of reality …
As Marcel Duchamp said art is made by every viewer who contemplate.
People are alive thanks to the arts in general. If life were reduced to economy would be unbearable, horrible. The art works by creating endorphins to suppress pain and boredom of life.
My obsessions are those of all human beings: life and death, love and affection, friendship, passion and commitment, work and time …
I try to insult death constantly and make poop in love through creation. Although at the end I´ll go to the hole like everyone else.

In my work I invite you to think freely about the strange mix of fun and great, dark and sensual imagery that surrounds us, operating in cannibalism iconography. Show delirious visual stream in which we are immersed, which come together iconoclastic and pornography, and cinefagia zoofilia. I make cannibal films, a strange militant cinefaghia, not proselytizing, which introduces the topics and genres for dynamite.

I always Keep in mind that a major objective of art is to teach the world to rethink, to make the invisible visible through the form and matter. The way he thinks.
And these words of Bukowski ever leave my lips: “When everything went to hell, he was always poetry to save my ass.

4. How do you develop your films, do you follow certain principles, styles etc?

I always felt alien, I love being in this world without being of this world. Permanently dissatisfied with what are surrounding me and hunting. Lost, but with lots of art. I am art with legs.
I try to live life with art, nourished by everything that fascinate me and create. Create something that shake the soul and guts to make a sigh, groan, levitate, mourn, laugh, rave … in short, feel fucking alive and awake.

To create my work I make a first obsessively efforts to document and archive both online and in my everyday environment. Decontextualised fragments of reality, using waste and remnants of events. Attempt to open link to new poetic associations, a strategy that involves the perversion of the codes (the tremendous, parody and humor). In the end, did the work of handling and digital postproduction.
The Mets can visit you while you are making poop, but the ideas are nothing without hard work.

5. How do you approach such complicated matter like Shoah represents?

With all my respect.

6. Tell me something about the technical equipment you use. What about digital technology?

I´ m a “low tech and do it yourself ” woman.
Internet for me is to cover the vast, brutal, challenging, addictive and enslaved.
Internet is full of sensitive cyborgs, whole universe is there, all the beauty and creativity. Inspires me, excites me, I reveal … In short I will become a Hikikomori with my 45 email accounts and I was censored and my account disabilited in Facebook when I had almost 4.000 ciberfriends. Freedom at fascibook-fakebook? JAJAJA

But the internet also inspire people or is like a tool. Books, movies … The creative strategies in our culture today are endless and its distribution on the Internet knows no boundaries.

The democratization of media recording and dissemination of culture, thanks to the Internet and taking advantage of the latest technologies expand the notion of the artist to unsuspected limits, recreate and celebrate art and recycling through the previous winding, where the original author becomes honored through intertextual work of new artists.

Ultimately, as Roland Barthes said, culture is considered as infinite palimpsest, each work is “made of multiple writings, emerged from several cultures and entering into dialogue with each other, in parody, in discussion.”

Or as Marcel Duchamp said: “Art is a game between all men and women of all ages and all eras.”

7. How do you finance your films?

Sometimes I finance my Serie B films. Art grants and institutional helps also.

8. Do you work individually as a video artist/film maker or do you work in a team?


if you have experience in both, what is the difference, what do you prefer?

I prefer to be autosufficient.

9. Who or what has a lasting influence on your film/video making?

A lot of people influence me.

10. What are your future plans or dreams as a film/video maker?

I wanna be free ; P

Can works of yours viewed online besides on VideoChannel/SFC? Yes

Where? The Toro´s Revenge at Found Footage
Christmas 2009 feature on VideoChannel

List some links & resources