WEBVTT

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How does Eduardo Chillida
make his sculptures?

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Well, I really don’t know.
Nobody knows that, right?

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But I think all of them have
something in common:

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{\\a6}they are made of questions.

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I think they are questions
I ask myself in the field

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that suits me best when
trying to understand

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troubles with space, time, matter,
and a thousand things alike.

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And then, the natural process
of my very being,

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compounded in the desire of
communication with others.

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Eduardo would never start working
with a preconceived idea

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or knowing what their purpose will be
or who they’re meant for.

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These are things he
doesn’t care about at all.

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And that is what
I’ve done all my life:

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giving him complete freedom.
Having eight kids,

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with all the mess this entails,
the noise, the commotion,

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the only thing that mattered Eduardo was
entering his office every morning

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being totally freed from any problem
unrelated to his work.

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Well, there were some
moments in his life,

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maybe not exactly hard, but very important,
that marked his whole life.

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He says it was the first time he really
had to make that kind of decision

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And he realised it was always
going to be that way.

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When he arrived at the
school in Madrid,

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he was making models.

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Many people went there,
artists or not,

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but he always excelled.
A lot...

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Pupils and even
teachers used to say:

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“Wow, Eduardo, you’re awesome,
you’re a real artist”...

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And he went home and I guess
he liked all that at first,

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but over and over again...

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and he drew
loads of pictures.

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We keep a lot of them
here from that time.

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Then, he thought things
could not go on that way,

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because that’s not being
an artist, that’s not art.

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What a dreadful thing art would be if
it’d come down to just that.

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I realised my right hand
was too skillful

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and sensitivity and reason
were left behind,

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Then I decided to draw
with my left hand.

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That was a very useful
elementary idea to me;

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it even marked my
career because

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it wasn’t a matter
of my hand anymore,

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but of being aware that
simplicity can be dangerous.

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My dad started to work
with his left hand

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but he switched hands
because he thought

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simplicity was
counterproductive.

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It was not like that for me.

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I had to do it,
because I lost my right hand.

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I’m the youngest
of eight siblings,

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so I used to get a free pass
for many things.

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Besides, I was the only one
capable of keeping

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the attention of everyone
sitting at our table,

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with my parents and
all my siblings

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listening as I told jokes,
stories and so.

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Until I had the accident.

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Then I went mute and
totally paralyzed

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and I forgot all the stories.

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My father loved this hand
and that one too.

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I showed it to him one night;
I put it on the table and he was awed by it.

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He shaped me

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but didn’t do the same
with my brother;

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not because he liked my work
better or worse.

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It was just he didn’t see Edu
as someone he could shape,

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but he did see me that way.

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At the beginning, he oriented
my process somehow,

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until I put an end to that.
Because, at one point, I thought:

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\"Ok, sure, I do it well but that is
because he won’t let me fail.

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Anyone could do it
well that way.

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I have to see if I can really
succeed on my own;

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otherwise, this makes no sense”.

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So yes, he shaped me.
I’m part of his work.

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If he ever had a disciple,
that was me.

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I don’t mean that’s because...

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This could get a few
backs up at home...

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I don’t mean that was because
he valued my work more or less,

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but because he could
use in me that way.

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We had this very
cool ball at home,

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and we played with it
all the time.

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My mother used to get so mad
because we used to pass it to one another,

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and we always ended up
thumping at something.

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As he had been a goalkeeper,
he taught us how to block.

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He threw us the ball, “Come on,
body back, hands right here,

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thumbs ready to receive,
the body is left behind so,

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should the ball scape,
it hits you and not the goal”.

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Kids of military men
are usually like that,

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and he was the son, grandson
and great-grandson of military men.

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Some of my pictures
are really crashed

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on their backs because
of that game,

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because the paintings were
hanging all over the house

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and they always got hit.

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He loved fooling around.

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This was typical aita.

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He would have liked it here.

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I remember when I was a kid,

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I used to look at his hand
while he was driving.

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He had a fantastic hand.

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I’m sure my sister
has told you about it

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because Susi loved
aita’s hands.

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It was a lot like mine,

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although his was better,
I think.

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That one and also
the other ones,

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the ones he made, were
better than mine.

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This hands world was something...
I made some of them myself,

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but I forbade that
to myself somehow,

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because it’s something
typical of him.

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It pisses me off because a
hand is one of the most

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interesting parts of
the human body.

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It was a wonderful
snowy day,

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unexpected as snow always
is in San Sebastián,

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and I was lucky enough
to witness this picture,

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with Ulia, our dog, Edu who hadn’t
had the accident yet, and Pedro.

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This beautiful silence
and his funny face.

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He really was a kid inside; there was
something childish in him,

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So true. He had a
subtle sense of humor,

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not acid at all.

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He never hurt anybody,
or run down anyone.

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Well, maybe one time, but he
would give them a good clout...

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a good clout...

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that’s why he liked
boxing so much.

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I had never noticed
this hollow.

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It’s very Chilled too.

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-I was standing there,
by your side.

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-Really?

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-Yeah.

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-I don’t remember you
being there that day.

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- That’s because I had
no game compared

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to your dad and
your brothers.

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The story about how the club
signed him is very nice.

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He was playing at the beach.
He looked like flying.

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And they said:
“There’s a kid there,

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something Chillida,
who is really good”.

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And then the couch of
Real Sociedad football club,

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(who invented the
tactical system

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called “the chain”,
almost before Italians did,

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I can’t remember his name
right now) called him.

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He said Atocha
was muddy as usual,

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and he had no sneakers
or football boots.

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They told him: “Ok kid,
stand right there”.

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He was 18 or 19,

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“Stand right there so we
shoot some balls to you.

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He stayed in front of the goal
and they started to shoot.

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Then this guy said:
“Have him signed”.

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Eduardo retired from football
because of an injury.

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I think it was the first year
he was playing in La Real,

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He injured both his
knees and retired,

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because there were no...
I think he had torn ligaments

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and they wouldn’t fix that
kind of injury back then.

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There was a journalist who
was very shocked that

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I was a goalkeeper before
becoming a sculptor.

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What a stupid thing to say.

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He couldn’t find any connection
between these two things,

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so I made him realise
he was wrong,

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since the space between the
goalposts and the area

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is tridimensional,
it’s a dihedral.

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And there stands
the goalkeeper,

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where every real active football
phenomenon happens.

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Therefore, the goalkeeper
has to develop links

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Therefore, the goalkeeper
has to develop links

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to these two mysteries,
that is, space and time,

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which make me think
that the talents

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that make a good goalkeeper
and a good sculptor

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may be nearly the same.

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That is “Torso”. Here we have
the Greek period,

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his training period in Paris,

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that is the beginning
of his work

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based on Greek
pre-classical art,

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on things he had
never seen before,

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the material
itself: plaster.

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But plaster not used as a
soft material to be molded

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but as a block, as a
stone to be sculpted.

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“Forma” is his
first sculpture.

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Despite this figurative
body part,

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it already has several
empty spaces.

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I think it was something
too beautiful to him;

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something he fought against
throughout its entire lifetime.

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There was this time when one
of Michelangelo’s disciples,

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who was also his lover and kept him
company at the end of his life,

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asked him: “Master, how could I tell
the essence of a sculpture?”

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and Michelangelo told him:
“Just throw it down a hill.

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Take what is left at the end and
you will have its essence”.

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This is the same.

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Life and centuries have
thrown them down the hill

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and we have
what we have.

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Aita found art
this way,

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but he found out
later it didn’t

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work as he thought
it would.

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That this clear,
Mediterranean world

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was no world he
could fish in.

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So I rejected
Greek art radically.

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I knew every piece in
the Louvre by heart.

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This Greek art I knew,
I knew it by heart;

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I was totally buckled
down to it.

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But I decided that
was bad for me

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and I walked pass the
Greek art room,

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covering my eyes with my hands
so I couldn’t see all that.

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-It’s hard to resist
the temptation.

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-It hurt me.

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And I spent many years like
that: totally rejecting that.

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But then one day, I
unexpectedly found a hand

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that was supposed to belong to
the Victory of Sahmothrace’s,

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recently found and
exposed in a showcase.

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I stood there,
captivated,

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and I realised it didn’t
hurt me anymore.

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He always said hands were

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the most multidimensional
part of the human body

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because fingers shape
internal spaces and things;

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there’s no other body part where
that can happen so easily.

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It was so nice
watching him draw

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because he put his hand
in this or that position

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and used to choose a Rotring
or some drawing pen

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and went totally vertical.

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He wouldn\'t hold the pen like this,
he held it like this;

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he started from a corner and
a whole hand was created.

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He wouldn’t stop at any time,
and he got it done.

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These moments were...
I always thought

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even birds went quiet
when he was doing that.

00:18:36.840 --> 00:18:39.720
Watching how the
drawing slowly emerged

00:18:39.760 --> 00:18:41.800
was something magical.

00:18:41.840 --> 00:18:45.840
It was the most impressive
thing I ever saw him do.

00:19:51.680 --> 00:19:54.760
On a train like this,
coming back from Paris,

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looking at the sea, going closer to
the French Basque Country,

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he suddenly realised
what was the element

00:20:06.080 --> 00:20:08.440
which wouldn’t
let him progress,

00:20:08.520 --> 00:20:11.800
which was preventing him
from surrendering to

00:20:11.840 --> 00:20:15.360
Greek art and
things like that,

00:20:15.362 --> 00:20:19.600
to the clarity of Brancusi
or Medardo Rosso,

00:20:19.680 --> 00:20:22.240
that were artists
he admired:

00:20:23.000 --> 00:20:24.120
it was light.

00:20:24.160 --> 00:20:25.720
It was a different light.

00:20:25.760 --> 00:20:30.320
His light was darker,
more Atlantic,

00:20:30.322 --> 00:20:33.000
of other nature,
less defining.

00:20:33.760 --> 00:20:37.880
As a solution,
he found iron,

00:20:37.920 --> 00:20:42.200
which was like going back
to the typical Basque somehow,

00:20:42.240 --> 00:20:45.840
back to tradition,
to the tools

00:20:45.880 --> 00:20:50.080
to get that kind of black
light he was looking for.

00:21:17.000 --> 00:21:21.240
I came back here and shut
myself in a little town,

00:21:21.280 --> 00:21:23.000
in Hernani, where I met
this blacksmith.

00:21:23.040 --> 00:21:25.600
When I walked
into that forge,

00:21:25.640 --> 00:21:27.560
the difference
I found between

00:21:27.600 --> 00:21:29.040
the iron I knew
from museums,

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maybe because of the environment
surrounding the sculptures,

00:21:31.040 --> 00:21:33.440
and the real iron,
the iron in a horseshoe,

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the smell in that forge...

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All that made me find out
a telluric world,

00:21:41.002 --> 00:21:43.560
totally different from
what I used to see

00:21:43.562 --> 00:21:45.400
at museums and galleries.

00:22:47.440 --> 00:22:50.640
His work before Paris

00:22:51.560 --> 00:22:54.000
consists of pieces
focused on the form:

00:22:54.002 --> 00:22:57.600
“Torso” and “Concreción”
were formal works.

00:22:57.640 --> 00:22:59.440
Here, sculpture
on itself,

00:22:59.442 --> 00:23:01.960
its title,
Rounded Around,

00:23:02.000 --> 00:23:04.720
lets us know that
the sculpture

00:23:04.760 --> 00:23:06.960
consists not only
of these sickles,

00:23:07.000 --> 00:23:10.880
but everything inside,
outside and around them.

00:23:10.920 --> 00:23:13.360
Long story short: space.

00:23:14.280 --> 00:23:19.040
I think in this work we may see
every ulterior work.

00:23:21.440 --> 00:23:24.160
Here we have something
from “Tindaya”,

00:23:24.200 --> 00:23:26.280
“Lo Profundo Es el Aire”,
\"Mendi Huts\"...

00:23:27.200 --> 00:23:30.200
He used to say his work
was like a spiral

00:23:30.240 --> 00:23:33.240
in which he passed by the
same spaces and places

00:23:33.280 --> 00:23:34.360
many times, but each time
at a different height

00:23:34.400 --> 00:23:37.280
many times, but each time
at a different height

00:23:38.000 --> 00:23:42.480
in terms of training,
compromise and work,

00:23:42.520 --> 00:23:46.640
and all of this made up
different works.

00:24:07.160 --> 00:24:11.120
The economic aspect is something
constant in everyone’s world.

00:24:11.160 --> 00:24:14.120
There has to be someone
in charge of it and,

00:24:14.160 --> 00:24:15.800
of course, that
had to be me.

00:24:15.840 --> 00:24:19.120
The truth is I already knew
before getting married

00:24:19.160 --> 00:24:21.400
that we wouldn’t be earning
any money in a long time.

00:24:21.440 --> 00:24:24.840
My mother wanted to
make embroidered table

00:24:24.920 --> 00:24:28.200
linens for me, and I told her:
“Mum, please, I may not even have

00:24:28.240 --> 00:24:30.640
anything to put on
top of it. Forget it”.

00:24:31.440 --> 00:24:33.440
So I got married
being aware of

00:24:33.520 --> 00:24:35.200
what I was letting
myself in for.

00:24:35.202 --> 00:24:38.200
I was absolutely
sure because

00:24:38.240 --> 00:24:42.880
I never doubted Eduardo
would be a great sculptor.

00:24:46.520 --> 00:24:49.840
Sitting there, smoking a
pipe in a dark corner

00:24:49.880 --> 00:24:53.000
of a huge warehouse,
I saw a giant machine

00:24:53.040 --> 00:24:55.760
they were trying to move
using several cranes.

00:24:57.000 --> 00:24:59.680
I saw this space in
the huge warehouse

00:24:59.720 --> 00:25:05.280
gravitating over this piece,
over this machine,

00:25:05.282 --> 00:25:08.120
flattening it
against the floor.

00:25:08.160 --> 00:25:11.880
This is an irrational
reading, apparently.

00:25:11.920 --> 00:25:14.800
And suddenly, I see
wires tightening,

00:25:14.840 --> 00:25:17.280
and the piece raises
from the ground

00:25:17.320 --> 00:25:20.000
and the whole space
it’s flattening

00:25:20.040 --> 00:25:21.880
goes down and
helps it rise.

00:25:25.840 --> 00:25:27.080
-Lorenzo, how are you?

00:25:27.120 --> 00:25:28.120
-How are you, Luis?

00:25:28.160 --> 00:25:28.920
-Hi.

00:25:28.960 --> 00:25:29.680
-I’m fine.

00:25:29.720 --> 00:25:31.000
-Right.

00:25:31.440 --> 00:25:34.440
I was thinking that
considering the possibility

00:25:34.520 --> 00:25:38.720
of defying gravity
is the most...

00:25:39.160 --> 00:25:42.480
I mean, gravity
affects us all,

00:25:42.560 --> 00:25:46.840
and suddenly this piece
frees itself from it.

00:25:47.960 --> 00:25:51.920
Searching, fighting,
winning quarrels.

00:25:51.960 --> 00:25:53.720
He was always fighting.

00:25:53.760 --> 00:25:56.000
Fighting against Newton,
as he used to say.

00:25:56.002 --> 00:25:58.880
After all, Newton is
what puts us all together,

00:25:58.920 --> 00:26:01.320
the reason why we’re all
stacked to the ground.

00:26:02.360 --> 00:26:04.320
I remember that, when
he talked about concrete,

00:26:04.360 --> 00:26:05.960
he used to say they
were works

00:26:06.000 --> 00:26:09.560
emerging inside out, as
rocks in nature were made.

00:26:09.600 --> 00:26:11.080
How are rocks created?

00:26:11.120 --> 00:26:13.080
A cavity is filled through
millions of years

00:26:13.120 --> 00:26:14.560
and finally becomes stone.

00:26:14.640 --> 00:26:18.760
It is as if matter was
working for Chillida,

00:26:18.800 --> 00:26:21.400
and not the other
way round.

00:26:22.520 --> 00:26:23.960
Look, how much
does it weight?

00:26:24.000 --> 00:26:25.880
Nine tons, right?

00:26:29.000 --> 00:26:30.920
We could carry it
away together,

00:26:31.640 --> 00:26:33.520
lifting it up a little.

00:26:34.120 --> 00:26:36.000
Yes, come on, try!

00:26:44.840 --> 00:26:47.640
I was \"mon petit\"
to Aimee Maeght,

00:26:47.680 --> 00:26:49.640
I was the youngest
artist in the gallery.

00:26:49.680 --> 00:26:52.880
The youngest one by far
because, you know...

00:26:52.920 --> 00:26:59.000
Miró, Brac, Chagall,
Giacometti...

00:26:59.040 --> 00:27:02.240
All of them were
oldest than me.

00:27:09.040 --> 00:27:11.720
-Hi, Ignacio!
-Hello!

00:27:11.760 --> 00:27:12.760
-How are you?

00:27:12.800 --> 00:27:15.160
-So many good memories!

00:27:15.200 --> 00:27:17.640
You will let me drive,
won’t you?

00:27:18.640 --> 00:27:19.640
Let’s go!

00:27:20.560 --> 00:27:25.800
Come on! Let’s go
for a ride!

00:27:26.680 --> 00:27:27.720
-Where are you going?

00:27:27.760 --> 00:27:30.800
-We’re going for a ride.
We’ll be back soon.

00:27:37.840 --> 00:27:40.760
-Has the car
enough gasoline?

00:27:40.800 --> 00:27:44.680
-Yes, there is enough.
Bye, dad!

00:27:46.800 --> 00:27:49.160
-It works!
-Let’s go!

00:27:54.520 --> 00:27:56.480
Miró once said:

00:27:56.520 --> 00:27:59.840
“Modern soul is falling
into decadence since cavemen”.

00:28:01.040 --> 00:28:04.240
There’s a red line.
Why should we classify

00:28:04.280 --> 00:28:07.440
and be restricted
by an ideology

00:28:07.520 --> 00:28:12.800
when every one of us has
their own way of working?

00:28:12.840 --> 00:28:18.080
Exactly! How could
we explain the world

00:28:18.120 --> 00:28:22.400
something new if everything
has already been invented?

00:28:24.040 --> 00:28:31.200
I love to do this, as if a
new sculpture emerged.

00:28:32.520 --> 00:28:35.600
This happens where we live
because it rains frequently.

00:28:58.120 --> 00:29:00.760
Look how wonderful!

00:29:00.800 --> 00:29:02.600
The beauty of nature...

00:29:03.920 --> 00:29:09.200
What I like most here is
I feel wonderful.

00:29:09.240 --> 00:29:13.280
I’m not a nostalgic person;
life goes on.

00:29:13.320 --> 00:29:16.960
It’s life of your and
my childhood!

00:29:17.000 --> 00:29:19.080
This is the only house
which stands.

00:29:20.360 --> 00:29:23.600
It’s really awesome;
I remember everything

00:29:23.680 --> 00:29:26.800
we used to do here.

00:29:28.360 --> 00:29:33.880
Even Madame Kandinsky
with Miró, right here.

00:29:33.920 --> 00:29:36.400
The two of them
standing back there,

00:29:36.440 --> 00:29:38.080
and she always holding
her umbrella.

00:29:38.120 --> 00:29:40.080
There are so many anecdotes,
and even some accident!

00:29:40.120 --> 00:29:41.640
Can you see that cloud?

00:29:41.680 --> 00:29:42.520
Yes.

00:29:42.680 --> 00:29:45.480
During the day, the
weather is so nice.

00:29:45.520 --> 00:29:47.800
But then at night,
the storm bursts.

00:29:47.840 --> 00:29:50.000
It’s a very violent thing
and, as it is so old,

00:29:50.002 --> 00:29:51.560
the house trembles
from its foundations.

00:29:53.440 --> 00:29:55.440
Well...

00:29:56.640 --> 00:30:04.360
It was so nice when kids
were working in those lines

00:30:04.362 --> 00:30:10.520
we made on sieves. These papers
are really magnificent.

00:30:11.880 --> 00:30:14.160
It was a very beautiful idea.

00:30:14.720 --> 00:30:18.000
Maybe the word is not “beautiful”,

00:30:18.160 --> 00:30:21.240
we should avoid that word
when talking about art.

00:30:21.840 --> 00:30:22.880
At least, when it
comes to Chillida;

00:30:22.920 --> 00:30:24.800
I cannot speak for anyone else.

00:30:25.640 --> 00:30:28.880
There was this thing he used to say
when talking about gravitations:

00:30:28.920 --> 00:30:33.480
“Listen, gravitations, as the
name suggests,

00:30:33.520 --> 00:30:38.080
fight against their own weight,
against Newton.

00:30:38.800 --> 00:30:43.000
Any gravitation, even
smaller than this one,

00:30:44.240 --> 00:30:45.880
keeps its own weight.

00:30:52.760 --> 00:30:55.040
Yes, we made paper
from this one

00:30:55.080 --> 00:30:57.440
and it’s very beautiful, it
has so much transparency.

00:30:59.400 --> 00:31:05.400
You can remove all these wax
and lignin in the plant

00:31:05.440 --> 00:31:08.880
and you get clean fiber.

00:32:20.240 --> 00:32:24.240
This is the paper Chillida liked
to make the gravitations.

00:32:24.280 --> 00:32:30.400
We had an old handmade
wire netting

00:32:30.440 --> 00:32:36.440
we found it suitable to make
a paper frame for our infant son.

00:32:37.440 --> 00:32:42.400
He had just finished and it was
on the table when he arrived,

00:32:42.440 --> 00:32:47.800
and he liked it very much,
and I get why he liked it,

00:32:47.880 --> 00:32:53.320
because the lines are so
beautifully blended together.

00:32:53.360 --> 00:32:59.280
There’s something about freedom,
rhythm and musicality in them.

00:32:59.320 --> 00:33:05.320
Sometimes, mistakes were so good
that he wanted us to reproduce them,

00:33:05.360 --> 00:33:07.080
and that’s the hardest
thing to do.

00:34:39.040 --> 00:34:45.440
These doors... at that time,
it was a real adventure because,

00:34:45.520 --> 00:34:49.680
when he made these doors, people
were less open to this kind of things.

00:34:49.720 --> 00:34:53.000
They told him:
“You abandoned mankind”.

00:34:53.002 --> 00:34:55.200
They didn’t like it at all.

00:34:57.800 --> 00:35:01.000
I don’t need to touch
a sculpture to feel him...

00:35:01.720 --> 00:35:04.280
I just need to touch myself.

00:35:33.440 --> 00:35:37.000
Eduardo, do you have doubts
about that foundation

00:35:37.040 --> 00:35:42.160
you want to create in Zabalaga
and bequeath to the Basque people?

00:35:42.200 --> 00:35:45.560
Is there still time to
overcome the obstacles

00:35:45.640 --> 00:35:47.560
that make unfeasible
to do that?

00:35:47.600 --> 00:35:50.600
I don’t know.
I’m not sure at all about that.

00:35:50.640 --> 00:35:55.560
I wanted to do it and now
I feel disappointed

00:35:55.600 --> 00:35:59.080
because I think there’s
no response.

00:35:59.120 --> 00:36:02.440
There is, of course,
response of the people.

00:36:02.520 --> 00:36:04.920
Many people tell me:
“How is it going?”

00:36:04.960 --> 00:36:11.160
But those who could realize
and support what I want to do

00:36:11.200 --> 00:36:13.520
there have not realized anything.

00:37:38.120 --> 00:37:43.440
A mountain hiding
something inside.

00:37:45.560 --> 00:37:49.440
A space for all men.

00:38:06.040 --> 00:38:09.120
I had this idea.
I thought it was utopic;

00:38:09.160 --> 00:38:15.000
a lot of these alabasters
were even first outlines, projects,

00:38:15.040 --> 00:38:17.320
so I could build a
mountain someday.

00:38:17.360 --> 00:38:20.400
But that seemed to me a
utopia of such magnitude...

00:38:20.440 --> 00:38:24.480
I woke up one night
(I have talked about this several times),

00:38:24.560 --> 00:38:26.360
I usually wake up at night

00:38:26.362 --> 00:38:28.960
and all ideas come to me at
four in the morning or so.

00:38:30.000 --> 00:38:34.400
And suddenly, I told to myself:
Why should this be a utopia?

00:38:34.440 --> 00:38:40.960
If the mountain I build has
appropriate stone, a good stone...

00:38:41.000 --> 00:38:46.000
Besides, as it happens,
what mining workers want

00:38:46.040 --> 00:38:49.200
is stone, and I just want
the space left behind,

00:38:49.240 --> 00:38:50.800
why wouldn’t we reach
an agreement?

00:38:53.160 --> 00:38:58.120
Here I have what is left from the
essays we made in Tindaya.

00:39:04.960 --> 00:39:09.400
This is a stone we took
there at the beginning.

00:39:09.440 --> 00:39:13.760
The main trouble when laying
the foundations of a mountain

00:39:13.840 --> 00:39:16.840
is this kind of fissures.

00:39:18.000 --> 00:39:25.120
It has joints and it works as a kind of
castle made of sugar cubes.

00:39:25.160 --> 00:39:28.880
So it’s ruled by discontinuity.

00:39:30.160 --> 00:39:33.960
In the end, the pressure exerted
by the mountain itself

00:39:34.000 --> 00:39:35.160
is what makes this possible.

00:39:35.200 --> 00:39:39.880
That’s it, there’s an underlying
pressure there and,

00:39:39.920 --> 00:39:43.840
when digging, we have to
keep that pressure.

00:39:55.000 --> 00:39:58.920
I have always lived
somehow isolated.

00:39:58.960 --> 00:40:02.200
Well, I’ve got many friends,
I have met a lot of people

00:40:02.760 --> 00:40:04.640
but I live isolated.

00:40:05.760 --> 00:40:09.680
The only person I
have really had a real

00:40:09.720 --> 00:40:12.840
special relationship with,
is Pili. All my life.

00:40:12.880 --> 00:40:16.840
Pili and I have spent our
whole lives together.

00:40:18.280 --> 00:40:21.640
Eduardo loved me
very, very much

00:40:22.680 --> 00:40:26.320
I never told him
anything at all.

00:40:26.322 --> 00:40:30.920
I helped him,
always believed in him.

00:40:31.360 --> 00:40:35.680
I told him: “Eduardo, this thing
you’re working in now...”

00:40:35.760 --> 00:40:40.920
because his work didn’t have
anything to do with the human body,

00:40:40.960 --> 00:40:44.480
or with this or that anymore.
It was something else.

00:40:44.520 --> 00:40:49.840
There had not been
anything like that here.

00:40:49.880 --> 00:40:54.200
And I told him: “Look, Eduardo,
if you do it and you like it,

00:40:54.240 --> 00:40:57.200
keep doing it. I like it too”.
“Oh, Ok then”.

00:40:58.840 --> 00:41:04.560
So we were lucky enough to
find each other from childhood.

00:41:08.000 --> 00:41:12.080
She is a woman I have
always felt close...

00:41:12.120 --> 00:41:15.800
In the right moment.
She was a visionary,

00:41:15.840 --> 00:41:19.080
she was ahead of her time.

00:41:19.120 --> 00:41:21.480
At the beginning, when
they had no money,

00:41:21.560 --> 00:41:25.320
she would have given up our heating
rather than aita’s iron.

00:41:26.760 --> 00:41:30.520
And one day the youngest of us
—who was that? Anyone, or all of us—

00:41:30.560 --> 00:41:34.320
was in the garden, in the sun.
It started raining and suddenly:

00:41:34.322 --> 00:41:36.680
“Where is Maruchita?”
Well, maybe not you,

00:41:36.760 --> 00:41:38.760
because you hadn’t been born yet.
“Where is Susanita?”

00:41:38.800 --> 00:41:40.680
In Hernani.
And Susanita was lying there,

00:41:40.720 --> 00:41:45.440
sucking raindrops falling
on her face.

00:41:45.442 --> 00:41:51.960
We got so many colds in
the house in Hernani.

00:41:52.000 --> 00:41:54.800
I think we were always
chilled back then...

00:41:54.840 --> 00:41:57.120
You bet. Because we
had no heating.

00:41:57.160 --> 00:41:59.760
We had nothing.
They lend us the house,

00:41:59.800 --> 00:42:03.520
gave us food... and she
put up with all that.

00:42:05.320 --> 00:42:07.600
She dealt with it with
her proud intact,

00:42:07.680 --> 00:42:11.000
with great dignity
because learning to...

00:42:11.002 --> 00:42:13.920
that marked her.
She was right for...

00:42:13.960 --> 00:42:15.000
She was austere.

00:42:15.600 --> 00:42:16.640
Very austere.

00:42:16.680 --> 00:42:19.200
They both were very austere
in everything they did.

00:42:22.360 --> 00:42:24.120
Where do waves come from?

00:42:24.680 --> 00:42:27.600
I went home and looked
at the maps.

00:42:27.640 --> 00:42:30.080
I used to calculate the
direction and thought:

00:42:30.120 --> 00:42:33.920
“Waves have to come from
Labrador Peninsula,

00:42:33.960 --> 00:42:38.040
more or less,
given the direction”.

00:42:38.080 --> 00:42:41.600
I was a kid but I was
thrilled with the idea

00:42:41.640 --> 00:42:44.120
of knowing where the
waves came from.

00:42:44.160 --> 00:42:46.760
I mean, I was already working
in “el Peine del Viento”

00:42:46.762 --> 00:42:50.760
although I haven\'t found
\"El Peine del Viento\"

00:42:50.800 --> 00:42:55.360
or sculpture itself yet but,
I’m a disciple of the sea.

00:43:00.000 --> 00:43:02.800
There is this anecdote with the sea.

00:43:02.840 --> 00:43:05.640
We were on a boat,
at the Mediterranean Sea

00:43:06.760 --> 00:43:09.560
and we made a stop near
the island of Mykonos.

00:43:10.040 --> 00:43:12.880
That night, aita disappeared.

00:43:14.040 --> 00:43:16.000
He woke up and disappeared.

00:43:16.920 --> 00:43:22.120
At one point, we almost thought
he had been swallowed up by the sea,

00:43:22.160 --> 00:43:26.360
that he had went into the sea.
We didn’t know what had happened.

00:43:27.280 --> 00:43:30.680
It was a very tense moment,
very hard,

00:43:30.760 --> 00:43:33.640
because we couldn’t
find him anywhere.

00:43:33.680 --> 00:43:36.360
And finally, he came back.

00:43:36.362 --> 00:43:39.040
He had got off the boat
and walked in mainland.

00:43:39.080 --> 00:43:41.880
He was a little bit bruised because
he banged into some rocks.

00:43:42.520 --> 00:43:48.640
He probably went at night, or at sunrise,
to visit the cliffs of Mykonos.

00:43:49.320 --> 00:43:52.560
We don’t really know, because
he never told us what happened,

00:43:52.640 --> 00:43:54.280
but he came back bruised.

00:43:54.282 --> 00:43:58.160
He was an early riser;
he used to wake up soon,

00:43:59.000 --> 00:44:01.920
he liked to get up early
to watch the sea.

00:44:01.960 --> 00:44:05.200
He liked to go down to \"El Peine\",
to the rocks, at sunrise.

00:44:05.240 --> 00:44:09.760
I think in Mykonos something
called him, the sea called him,

00:44:09.800 --> 00:44:13.400
the cliffs in that island
were calling him,

00:44:13.402 --> 00:44:16.200
and that was the moment
we started to see

00:44:16.240 --> 00:44:18.240
something bad was
happening to him.

00:44:22.000 --> 00:44:24.920
Before that event,
we were having dinner

00:44:24.922 --> 00:44:28.160
in a beautiful place
by the sea and suddenly,

00:44:28.200 --> 00:44:31.640
he stood up and said:
“Well, I’m going home”.

00:44:31.720 --> 00:44:35.520
We told him: “What do you mean
home? We are in Greece”.

00:44:35.560 --> 00:44:38.200
And he said:
“No, my house is right there”.

00:44:38.202 --> 00:44:42.760
and I was like: “He thinks
home is here. Oh, my God, poor thing”.

00:44:44.640 --> 00:44:48.640
At that moment, if there were
any lingering doubt about it,

00:44:49.560 --> 00:44:53.000
if there were any doubt on whether
something was wrong, it faded away.

00:44:53.002 --> 00:44:56.360
He looked very
absent-minded, sad.

00:44:56.400 --> 00:44:58.080
It was Alzheimer’s...

00:44:58.120 --> 00:44:59.920
He would repeat
things all the time.

00:44:59.960 --> 00:45:02.120
He began to read a lot
about himself, to know who he was;

00:45:02.160 --> 00:45:04.840
he didn’t know
who he was anymore.

00:45:04.842 --> 00:45:06.560
He read to know who he was.

00:46:09.120 --> 00:46:12.120
“At this point, Eduardo
had already passed away.

00:46:12.960 --> 00:46:15.600
I was not the same
Pili anymore.

00:46:17.160 --> 00:46:20.040
The years go by but I don’t
know how to keep living”.

00:46:22.360 --> 00:46:24.520
And she never learnt.

00:46:24.600 --> 00:46:26.320
Until she forgot about everything,

00:46:27.240 --> 00:46:29.120
until she lost all her memories.

00:47:26.080 --> 00:47:28.280
From his first work “Forma”,

00:47:29.440 --> 00:47:33.920
which had a hole
inside her belly,

00:47:35.280 --> 00:47:37.080
there were many works.

00:47:38.000 --> 00:47:42.440
Then we had Jorge Guillén’s verse
“The Depth of Air”.

00:47:44.120 --> 00:47:48.440
All his works looked for
that hole, that hollow,

00:47:51.560 --> 00:47:56.320
that space inside them,
and then we have the scale.

00:47:57.320 --> 00:48:01.640
Here, in “Elogio del Horizonte” ,
scale tells us a lot,

00:48:01.720 --> 00:48:04.000
it puts us in our place,

00:48:04.640 --> 00:48:08.720
not only with respect to the
horizon but to the cosmos,

00:48:09.520 --> 00:48:10.960
to the sky.

00:48:12.040 --> 00:48:18.280
Maybe at this scale, although
the work is huge or impressive,

00:48:18.320 --> 00:48:20.840
it doesn’t seem so
when you look at it.

00:48:20.880 --> 00:48:24.280
because everything
around it is huge:

00:48:24.320 --> 00:48:26.120
the immensity of horizon

00:48:26.720 --> 00:48:31.000
which to aita was homeland
of every man.