Text in English The conversation that follows condensed from a considerably longer exchange focusses on a particular subset of themes that run through the career of the remarkable Chilean artist Jorge Tacla. It makes no attempt at being exhaustive, nor does it aim to provide anything like a full biographical overview for more on which, see other contributions to this catalog. His father worked and co-owned an old plastic manufacturing establishment; his mother was a dancer and a musician and presently a ceramicist. The family was relatively apolitical though his mother was devoutly Catholic and Jorge himself too young to really participate in the leftist upsurge around Salvador Allende, though the music academy he attended afternoons during high school was downtown, right near the presidential palace of La Moneda, and many of his professors were devoted leftists. Nor was Jorge especially active in the resistance in the years thereafter, though, once he had enrolled at the Escuela des Bellas Artes of Universitad de Chile, presently majoring in painting, he enthusiastically participated in the underground bohemian scene, such as it was. Early on he was drawn to the work of Francis Bacon, though he could only experience it in reproduction, and it was in part to be able to experience art first-hand that he first ventured to New York in After that he caromed back and forth between New York and Chile: he was in Santiago for the terrible earthquake ofand he also spent some months, on a Guggenheim Fellowship, in the remote and desolate Atacama Desert near the Bolivian border.
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