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CARLOS SCLIAR

Scliar, tell us about the struggle you all had to set up Clube de Gravura? Did you all indulge in criticism and self-criticism as a way of motivating the club?
Carlos Scliar –
It’s always a struggle when you want to do something that is not part of the daily run of events. We were a motley crew: myself, Vasco Petrucci, Hofstetter at the outset; then came the pair from Bagé, Glauco and Bianchetti; followed by Mancuso, the youngest, Fortunato, Ailema (Bianchetti’s wife), Koetz and Plinio Bernhardt.
In the initial phase we were conducting a political work in support of the peace movement and, in fact, the origins of our group lie in the support and collaboration given to Horizonte magazine. (...) Work and discipline were assimilated in different forms by each of us. But we would draw, or later, paint together, we were stubborn, humble, pretentious, and convinced that what we were doing was improving us; naturally, a climate such as this could only produce good results.
It’s odd but thinking back on it, I believe that perhaps one of the things that helped us most was that we worked in an unhurried fashion as if we had all the time in the world. I can’t speak for the others, but judging by the continuous improvement of each of us and the ease with which these results appeared, I think we all benefited greatly and as I said before, each one of us sought his path and found it.
Excerpt from an interview taken from the book "Gravura Brasileira Hoje: depoimentos". Rio de Janeiro: SESC/ARRJ, 1995.

Is there any relation between the avant-garde movement, traditionalism and the chosen engraving technique?
Carlos Scliar –
Each technique has its peculiarities. The artist chooses that which lends itself best to expressing his project. The technique does not define the aesthetic or ideological stance of the artist, it merely shows the competence of the person using that medium. Misunderstandings sometimes arising from the prejudice of professionals who only consider the means they use to be valid. Time usually smoothes over the rough edges in these positions. No technique should ever be blamed for the fact that it was used unwisely.
Excerpt from an interview taken from the book "Gravura Brasileira Hoje: depoimentos". Rio de Janeiro: SESC/ARRJ, 1995.