JOSE' VAN ROY DALI - NUDE ON THE BEACH

The element that distinguishes the painting of the son of art is the physical contact with the color. He does not use cold and inanimate brushes, but materials full of creative energy, as in this case, which shape the chromatic mixture. This materiality gives his works, in addition to an unexpected vitality, the material consistency necessary to generate particular plays of light and shadow. Thus the light element becomes an important protagonist in the orchestration of the image. Accompanying an unusual sign, it reveals every vibration of the personality. Indicating the interpretative path of an intimate dialectic strongly desired by the artist. Salvador Dalí's son and Gala among the surrealist genius' cumbersome childhood memories 119 years ago today, Salvador Dalí was born, the inventor of Surrealism, the attractor of art and the unconscious, the star of the art business, Amanda Lear's lover, the anarchist who angered the French communists by glorifying the monarchy, the chef who created pictorial and surrealist dishes long before the master chefs of television, the bon vivant with the yellow Rolls Royce: this and much more was Salvador Dalí, painter, sculptor, writer, photographer, filmmaker, designer, screenwriter, and pop mystic. To celebrate this great artist, we publish the interview, published in the February 2022 issue of the monthly magazine CulturaIdentità, with José Van Roy Dalí , painter, sculptor, goldsmith, writer, film actor, and…….son of a legend. (Editorial Staff) «I will continue to paint successfully, to live with dignity, to represent myself, my family, my superlative art and to call myself Dalí with the awareness that this distraction will contribute to my immortality since only those who “do not exist” can never die». José Van Roy Dalí declares it like a poetic manifesto, his bond with a father-not-father, friend-enemy but ultimately “total completion of himself”. The Son of the Dream Seller (2010) is his latest autobiography, in which he recounts family anecdotes, the inconvenience of an unwieldy surname, and the struggle of proving himself worthy of an immortal 20th-century master and artist. Born in Perpignan, Catalonia, in 1940, he is the son of Salvador Dalí Domenech, a surrealist master, and the Russian model Elena Deluvina Diakonov (known as Gala). José spent his adolescence with a pair of guardians. His real parents, constantly busy traveling the world due to their work, decided to entrust him to an Italian family who raised him as their own. For a long time, Salvador and Gala were unable to legalize their union, as José recounts in his memoirs: “As a child, I only spent the summer holidays in Cadaques, at the Dalís', and in the winter I was entrusted to the Rossi family.” But the emotional bond with the child became such that his guardians announced that José had died. Only many years later was he able to see them again. In Dalì, Dalì wrote in 1986: “The desire to defeat man – whom I should have loved as a father – came to life in me, and in order not to place limits on the insane purposes of my drawing, I would have dared further, copying his style and his extremely refined technique…” José is a self-confessed surrealist. A painter, sculptor, goldsmith, writer, and even a film actor, but only because of his great love for art. His works are exercises in style and curiosity, rather than actual production. A lively and passionate activity, open to new ideas and exploring unexplored avenues. His eclecticism and creativity are evident, as is the mustache he proudly displays, imitating them, strictly "pointed skyward like the towers of Burgos Cathedral," just as his father, Salvador, loved to flaunt them. "Power to the artists!": this is the challenge launched in this issue of CulturaIdentità. It's no coincidence that Futurism attributed heightened perceptive abilities to 20th-century artists, the divinatory power of seeing. It was a decisive movement, founded on solid foundations. Artists forged a virtuous relationship of exchange and mutual influence. Indeed, the shift toward Surrealism ushered in the era of Third Futurism. Do we need, in your opinion, to rebuild a real popular consensus around the value of art? To have "visions and visionaries" again? I try to be realistic and analyze the crisis facing the art world at this moment in history. I've never defined myself as such; I'm simply a man of these times who enjoys his work. In my opinion, with a few rare exceptions, there are currently no noteworthy masters. I place great art in the Renaissance. What remains, therefore, is a nostalgic look back. The world is so distracted by people with no particular talent. People who show off using any means possible and who try to replace artists. Today, what's more striking is the oddity than the true individual ability. And how do you experience this condition? I retired to the countryside, deliberately removed from these dynamics. My house is a sort of museum, a bit like the one my parents built. Those who visit me find clear similarities. I continue to create my art, but without too much fanfare. I've been producing for the personal pleasure of creating, intentionally for over twenty years, and I don't sell my works. During his career he experimented with more than one artistic language I began as a surrealist and figurative artist. I sought to understand the abstract and the informal by expressing myself in that language. It's the pure enjoyment that comes from experimentation that has pushed me to explore new paths. Your parents' lives were a pure act of art. How much did this influence your development? My father was a living work of art. He had not only me, but thousands of children. His admirers and the artists who were inspired by his painting. He influenced more than one generation; he was an innovator. My mother, Gala, was his muse, my father's soul. Together, they were a single being divided in two. Their entire life was based on aesthetic visibility and the pursuit of absolute beauty. As a child, I was unaware of my father's artistic greatness. I only understood who he truly was when I approached painting. I never dared compare myself to him. It would have been a losing gamble from the start. It all began as a game, an affectionate emulation designed to recreate a sort of bond with him. What memories do you have of your childhood? He loved to joke and played pranks on me constantly. Once he pretended to be dead. So I tried to take his watch, which he treasured, to see if he was faking it. Suddenly his eyes widened, and I realized it was one of his pranks. He would come into my room while I was sleeping and suddenly wake me with a lit candle under his face. He claimed to be the devil, but the horns were his mustache. Which of his famous works do you feel particularly attached to? The Christ of Saint John of the Cross, I have a reproduction at home that I made. But then there are so many of his other masterpieces, all unforgettable, I couldn't choose. What are you working on now? I'm writing a new book, "God's Manager": I tell the story of the world of art and the virtually unknown artists who are trying to emerge in this environment. What contemporary artistic movement do you find most interesting? I notice a deliberate confusion created by dealers who have very little to do with art. This is why I've become interested in Effectism. In any case, I remain anchored to classical surrealism, but, with other artists, we're trying to rediscover the traditional path of painting.

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