Six questions for
Sofia Caesar

Tique asks six questions to an artist about their work and inspiration.
This week: Sofia Caesar.

Artist Sofia Caesar
Lives in Between Brazil and Brussels

How do you describe your own art practice?

It’s like dancing right at the edge of the Silicon Valley.

Which question or theme is central in your work?

It’s hard to put it in words as for me it’s all about the body. In particular, the relations between our bodies and the worlds around us. By worlds I mean like peoples, natures, objects, and in particular cameras. I think it is coming from a curiosity about the forces that choreograph our movements and bodies. Like how with the spreading of the mobile phone and social media, cameras are living so close to us. We could say they morphed with our bodies into “bodicameras”. I say that because I see that now the camera lives inside us. The camera is part of our bodies and the forces that condition us. Even if we are not holding or using it. My approach is not like in a technocratic way… it’s more bodily: sweat and skin. So how can we relate to this “bodycamera,” for example, in ways that are not so damaging to ourselves and the worlds around us.

What was your first experience with art?

Art has been around me for a long time. But I think the first moments I opened myself to art was when I felt how my parents related to me, our home, and their working materials. My mom was a ceramicist and my dad an electroacoustic musician. As a child I witnessed how they cared for the living and non-living things in our home. It was when my mom touched the materials present in her life with love: from my food to the clay. And when my dad sensibly listened to the sounds around him: from the rain to my laughter.

What is your greatest source of inspiration?

The culture that is produced in my beloved place they call BRASILLLLLLL.

What do you need in order to create your work?

My body.

What work or artist has most recently surprised you?

Athanasius Kircher, 1650, Speaking tubes connected to statues, from Musurgia universalis, vol. 2, p. 303.

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