Marco Rountree: It was in 2005, Proyectos Moncolva (gallery) gave me the opportunity to do a project with them, and from that moment on is when I started my career as a visual artist. At the same time, in 2005, my friendship with Rodolfo got stronger because Rodolfo lives in the multifamily residences in the Colonia del Valle, close to where I lived, so we started an intense friendship where I would go visit him on an almost daily basis.
Rodolfo Diaz: It was really a lot about teaching each other about our interests, I mean, I would teach him about the things that are interesting to me, my tools, showing them to Marco and try to explain them so that I could also understand them, and I suppose that for Marco it was something similar.
MR: We are always commenting on each other’s ideas and work and about life. Sometimes, I’ll be invited to exhibit or show my work and I immediately call Rodolfo to ask him for help on how to show it. This is all a part of the process that he was taking about, and I think that in almost all of my exhibitions you can see Rodolfo’s ideas expressed openly, and you begin to see a lot of the unity of the work, because although they were my drawings, the mounting, the production and many times the idea itself or the theme of the drawings was done half and half, totally with the opinion of Rodoflo and my opinion and arriving at an agreement.
And I think that this is also important in the partnership of Vigueta y Bovedilla which allows us to work and collaborate with who we invite and ultimately you don’t see the names of Marco, Rodolfo or anyone else, only Vigueta and Bovedilla, which is the final result of collaborations with artists, architects, artisans…
RD: Ultimately, its like a fiscal paradise, a place where you can develop whatever idea or have as many ideas as you want, and you don’t have to look like what you thought you had to look like or be. It’s a place where you can do other things.
These are some of the collages that are done between two pieces of glass, as if they were displays from a laboratory where you might see the little piece of a donkey hair, or I don’t know, so there is where you have something preserved in time, and this is a way to show it.
We really want to encapsulate things because it stops us in time and it generates other functions. This is a tower that we wanted to do like a column, it was a very numerical sequence from zero to one, so you generate a form and it was as easy as putting down the one and then the two on top of the one and successively and see the form or figure that it took on.
This is a pretty recent project that has more to do with the constructive and architectural idea that we often work with. The idea is to encapsulate a circle, a sphere, which seemed really interesting to us in order to generate a constructive module, because it would be a bit utopic to be able to build with balls, so we wanted to do this play of making it and see it as a game and in the same line of seeing it as a game use tennis balls.
I had already worked with tennis balls, and I love the idea of the material, the little hairs, the shine, the color, I love them. The other thing that we’ve really enjoyed in Sociedad is learning how to watch sports, without playing any, but learning to watch them. And well, we use these materials, and this piece in particular is really fun because working with the limiting factor of only using 100 pieces, we’ll see what kind of forms we can make.
So, we decided that the way that we had to present this structure, was with two or three unique manners of showing the 100 balls. So Marco chose one, I chose another, and the third we made together, and the other is when they fall and we see what happens, leave it to chance.
This is another exercise, like those that we put as limitations, in which we had decided to work with whatever flat surface that could be cut in half, so it could be any kind of tablet, so long as it has four sides, because that is the limiting factor, so we cut it vertically, horizontally, or diagonally in halves, in two parts.
So, the way of putting together this exercise, is not always like this, its like presenting it as a kind of dialectical game, like a children’s game. So, for example, I show the first piece, and Marco then shows the next, and there are various possibilities in the arrangements, ultimately there is some chaos or something ordered, that wouldn’t have necessarily made much sense from the beginning.
The interesting thing about this exercise for us is seeing the number of possibilities that you can have with nine pieces, with such strict rules. It is a code, at the end of the day you’re only working with halves. I don’t have a clear sense that there is any particular form, but what I do see is a formation that reflects the way it was generated, considering how the material arrived or what material it is, to what dynamic we show and later a final result that ends up containing information more than just a shape.