Vidal Herrera
Artist, Graphic Designer Vidal Herrera
Last updated
Artist, Graphic Designer Vidal Herrera
Last updated
6 min read
Valentin Vidal Herrera is an Argentinian artist, and graphic designer based in South America.
Can you describe your artistic career and how you got into web3?
I am an abstract research developer focused on surrealism and pure automatism. My artistic development is archived and marketed from 2021 on Web 3. As a self-taught artist, I find in each process a spontaneous act of my intimacy that I manage to capture through my works as if it were an invitation to penetrate the world of sensations, of what is unseen or invisible, to approach the mere subjectivity of the viewer. Art is letting yourself fall into the absolute darkness of your deepest self, surrendering to feeling, and taking away the power of judgment.
Although the concept is not explicitly defined, I like to invite the viewer to search for meaning and to create a connection with the work. I can add that…’ Wind Blows and the Phantom Worries’ is a metaphor that means that when something changes or moves in life, worries that once seemed important often lose their power. It is an expression that conveys the idea that time and change can help put worries in perspective and overcome them.
The viewer can expand the meaning of a work even more than the artist.
In what way did your country of origin, Argentina, influence your art?
Argentina, my beloved country, is a mess and a constant invention, a nation in continual disarray that repeatedly leads you to reinvent yourself. It has as many changes as shapes and colors.
Being receptive to what is happening here is very important; some things affect you daily. It is good to be permeable to the local world and to be able to bring it into your work in a positive way.
My art is not absent from all the chaos surrounding it; it is part of that, and I think that’s the key. It doesn’t like order and coexists in daily experimentation and transformation.
Why did you decide to focus on surrealism and automatism?
This decision was not deliberate, but it appeared little by little as I was inserting myself into the art world, and consequently, I was getting to know myself. My way of being and thinking goes very well with the surrealist and abstract; I am a very free person who can rarely feel identified with something in particular, and through automatism, I find that beautiful channel that allows me to be a means to bring down that expression, emotion or thought that is not possible to put it into words or recognizable objects.
What is your favorite collection and why?
My favorite collection to date is ‘Dreams Inhabit Stories’ which contains an experimental process and a quest to explore forms that were a breakthrough in my work and thinking. My artistic behavior was born with a surrealistic imagination, and it was in this collection that I could connect several ideas I carry today.
What inspires you in the process of art creation the most?
Without any doubt, I have undressed myself, and I have let almost everything penetrate me in a certain way to channel it through my artistic delivery.
I have never felt so strong as when creating a piece of art. That previous moment of solitude, the simple act of capturing an action, a gesture and having fun in the process, has allowed me to look with the eyes of the soul, avoiding those voices that speak and cover or obscure what you want to convey.
What are your plans and projects?
My personal life and my work are precisely the same. My acting art and digital pictorial art are based on constant improvisation, part of daily and consecutive experimentation.
There is no plan at the moment, and I don’t think there will be. As a certainty, I can say that I do not lose my head in monotonous, mechanical, and routine things that would spoil everything. To continue creating in any of its forms, finding impulses that develop even more potential, and above all, to have a very open brain.
What is the manifesto of your art? What would you like to share with the world?
When I read André Breton’s surrealist manifesto, it was like finding water in the desert. It was, for me, an answer to everything that I seemed to have no answers to in my head. Next year, it will be 100 years since its publication, and I have no doubt about what this artistic movement has contributed and will continue to contribute.
Being a contemporary artist in full development, dialogue with the everyday, and thinking about how to transform it through technology is the key to a voracious world that needs to lose a little reason not to be devoured.
What changes most concern you in the art world just now?
This is something very delicate that I will only address from my experience….
Since the implementation of NFTs and the digitization of artwork, questions have been raised about authenticity and authorship that are worrying as this can affect, but nevertheless, the access and diversity that this new technology has generated is a breakthrough for those who could not access the art world in a non-traditional way.
How do you see the future of digital art and your role in it?
It is somewhat uncertain and premature to have such a clear answer since we are in the first steps of this scene. I see a lot of acceptance and adaptation in the traditional systems for wanting to be active in this digital world, and this is where we are going: a global adaptation.
Digital, the language that belongs to me, is constantly changing, and my work is still there.
My art is an imprint within this disorder since it tries to explore and decipher these new paradigms between art and technology in addition to being natively digital.
The artistic production, abstract in my case, seems to take on new meanings through these new tools native to the digital, and although it seems to have the fundamental concepts of traditional art, it goes beyond and tries to challenge what is known of them.
Vidal Herrera's artwork was selected for the first . Today, it can be seen in 1984 ACCA Gallery and the first ACCA Auction.
Describe the concept of your artwork “Wind Blows and the Phantom Worries,” presented at our .
