S.A: Hi William, first of all, we would like know more about you. Tell us who is William Coronado, tell us something about your life and your childhood in your country
W.C: I was born on March 29, 1973 in the United States in a town called Weehawken, NJ. When I was a child I lived in towns that were culturally diverse while simultaneously being indoctrinated into the American system and way of life through education. I believe that the discovery of different cultures, values, and customs at an early age allowed me to be sympathetic and aware of other cultural systems besides the American way. As far as I can remember I was always observing and analyzing the differences between cultures as well as the striking similarities embedded within them. I am also part of the generation that lived and experience the cultural shift between a mechanical world and one where digitalization dominates human existences.  This is important to me because in most of my work I metaphorically imply how our conception and acceptance of what is considered to be an image of the human body has been altered by the leaps and bounds of technology.

S.A: What is art for you?
W.C: Art for me is a visual communication system that has a long and extraordinary history.  It is one of the earliest forms of communication and self expression and it will evolve and remain with humanity until our very end as a species. To me all forms of art discovered and not discovered are relevant and acceptable.  It is why it perplexes me greatly to read articles about the death of art specifically painting.  In recent years, painting has been condemned and some have even declared its eventual death.  I disagree and believe for this type of mentality to be narrow minded and limiting to the growth and richness of art practices.  Painting’s history is what makes it unique and its language rich.  It would take a great deal of testicular fortitude to declare and propagate to the worlds leading scientists to disregard the field of science because it is believed that it is an outdated study and not relevant to today’s times. For the sake of technological progress I would hope not. If this sounds a bit absurd then why would such a mentality apply to painting or art? The beauty of painting is that it evolves with human progress. Painters will always make art that is a reflection of their era.  The problem is that western societies have a tendency to categorize and define all things including some that posses more of a metaphysical nature than material one.


S.A: Could you share some of your philosophy about art and artistic creation?
W.C: Yes. Art is a necessity, ritual, and process to communicate ideas both conscious and subconscious about an individual’s existences and struggle in relation to their external environment.  This struggle can be one of reconciliation, rejection, acceptance, or denial of the external sources in which the individual is forced to be part of such as society and its system of operation.

S.A: Have you always been interested in arts?
W.C: I was not always interested in the arts because I was not aware that one can have a career within the arts. I pursued a career in business as an accountant for many years before I discovered the arts.  As a matter of a fact, I do not believe I visited a museum until I was 22 years of age.  I do remember that when I was a child my father showed me posters of Kandinsky’s paintings. I remember being highly impressed and fascinated by the design of Kandinsky’s work but the experience did not prompt me in becoming an artist.  Most of my youth was spent in limbo and in search of my own self worth as a person.

S.A: When did you discover that art would be an important part of your life?
W.C: I began making art about 9 years ago.  I was in a highly depressed state of mind about life and my accomplishments at the time. I was beginning to realize what a poor decision it was for me to pursue a career in business. I had an introverted personality and in business one must be aggressive and social. In addition, I felt like if something was missing and I did not have a clue as to what it was.  In 2000 I reacquainted with an old friend who was a conceptual artist working in various mediums. He was very influential to my development as an artist and we would stay up many nights having philosophical debates. I once expressed to him how I wished I could paint and do art. Since that day he encouraged me to pursue my desire and reminded me that it was attainable.  I also had tremendous encouragement from my family and wife. In 2001 I began taking art classes at New Jersey City University and the Arts Student League in New York City.  I have been working and developing my craft to this very day.


S.A: How did you get started in the art world?
W.C: I have come to realize that the art world is all about perception. In my opinion it is too driven by the market and closed institutions as a result it is losing ground with the rest of society. Yet, these very same institutions of art circulate enough money into the system that it allows for arts survival on the mainstream level. Being emerged in the art world and creating art are two different things. I do not know if it is possible to do both without sacrificing some integral part of the art process.  I mostly concentrate on the sacred process of creating and realizing my ideas through art. If the work gets accepted by the art world then that is a good thing because more people get to experience my creations if not then there are always other alternatives to get your work some exposure.  I believe that if one wants to be part of the “art world” then all one must do is open the door.

Q: What concept would you like to show to your viewers?  What would you like say with your artworks?
W.C: My work explores social and psychological states using the human body as a vessel for investigation. I use the human body not for its representational qualities but for its ability to evoke philosophical and psychological questions about our existence. If there is any such thing or idea as truth it is embedded within the human body.  We are complex in every way imaginable. Our actions and the systems we create are a testament to our complexity as a species.  In my work, I focus on using the body as a metaphor for our present human condition.

S.A: How has society influenced your art?
W.C: For me, observing my immediate society is everything. It is my fascination and inspiration.


S.A: Discuss one of your pieces. What were you thinking when you created it?
W.C: In the work “Tumble” I created an image that reflects the recent beheadings that are occurring in the Middle East. The work allows for the contemplation and digestion of the imagery.  The medium is used as a metaphor by and in its self. The design and arrangement draws the viewer in and out of the picture plane (in the same manner television imaged are displayed) thus enhancing its psychological effect due to the variations in scale and size. The stillness of the image enhances the violation of human dignity yet, a poetic beauty can be found in the arrangement of the composition, handling of the medium and tonal variations.

S.A: What are the most important artist that influence in your life and your works? why?
W.C: I have not met or read about any one artist that has influenced my life. We all live our own lives and the events which occur and narrow our decisions or guide our paths.
But with art and artworks it is something totally different. I have had many influences for different reasons throughout my artistic career. I terms of format and style artist like Kiki Smith, Marlene Dumas, Zhang Huan, Ida Applebroog, Gustave Courbet… the list is too long!


S.A: Could you talk about the procedures that you use in your artworks? Preparation, development and finishing.
W.C: In the work “Being” the image was inspired by a Gap advertisement. I made a quick sketch of the advertisement and scanned it to the computer. I then proceeded to take photographs of my arms and hands in different positions and pasted the different body parts together on the computer. I also eliminated the body part that people identify with the most which I believe to be the head. Facial features are the most common way that people identify each other and read into each other.  I eliminated any clues of facial expression. When the image was ready to be transferred onto canvas I drew the image and distort the proportions of the body once again. I believe that by redrawing the figure without the aid of any technological tools I can display idiosyncrasy not possible if I were to mechanically project or trace the photographic image.

S.A: What do you feel when you are finished an artwork?
W.C: If the artwork was successful I began to think about my next piece. I do not think about a single painting as my message rather I try to work on a series of work to tell a story. In a sense, I rarely feel as if I have completed something. If I believe that it was not successful then I take it out of my studio and place it in my home. I live with the piece for a while and usually after a couple of days the work tells me what it is lacking.

S.A: Do you have some challenge or goal which you are pursuing?
W.C: I am constantly thinking about my mortality and my existence. I want to leave behind a body of work that is reflective of my existence not as an individual but as a member of collective society who saw the world in a certain perspective.


S.A: For finish tell us, why do you create art?
W.C: I create because I can not do any thing else. It is one of the few things that I can accomplish with out it being too painstaking.

Thanks a lot for your time William. Has been a pleasure know more about you and your work.